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    <title>The Wounded Walker | Commonweal Magazine</title>
    <dc:date>2026-06-25T21:14:53+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Michel de Certeau’s search for the murmuring of the mystical in secular society"

...

"The Czech poet and painter Josef Čapek, who was killed in Bergen-Belsen in 1945, described himself as a limping pilgrim “hobbling through the Gateway to Eternity.” Certeau—and Fern in Nomadland—could be described the same way. In his biography of Certeau, Françoise Dosse calls him “le marcheur blessé,” “the wounded walker.” 

Part of Certeau’s attraction to the Society of Jesus was that he wanted to be a missionary. He did travel widely, but his real wayfaring ended up being internal—an inner movement that could not be stilled or staunched. For Certeau, the transience of desire, including his own, cannot be pinned down but only attested to. We can only trace it in and through its various inscriptions and behaviors. The city may be mapped and its entrances and exits prescribed, but it can be walked in a million different ways. In his numerous and multifaceted investigations, Certeau traces the murmuring of a desire that no secularism can conceal or abrogate. This is the spiritual vision in his work that roamed and transgressed across anthropology, theology, history, sociology, psychoanalysis, ethnography, and what is now known as cultural studies.  

One can understand why Catholic theologians have paid him little attention. Though he wrote about the Church, the Eucharist, and even Christ, he had little interest in dogmatics, philosophical theology, moral theology, or ecclesiology. And his writing style can be forbidding, as we have seen. But beyond its eclecticism and difficulty, Certeau’s work may have been avoided by theologians because of a critical question it raises: To what extent are their theologies themselves “sociocultural productions” reacting to, rather than excavating, secularism? Certeau wants to ask of theology not whether its critique of secularism is right or wrong, but what fears and desires it is itself expressing.

Certeau invented interdisciplinary study before it was fashionable or even had a name. He recognized that the truly big questions—like what makes a belief believable or why one would believe anything—cannot be answered by any one intellectual discipline, including theology, with its siloed modes of inquiry and strictly policed faculty boundaries. And yet such questions tap into the very roots of any religious faith. Certeau was likely not surprised at theologians’ neglect of his work. He would have known from his reading of the mystics that the Church is always wary of lived experience and religious enthusiasm uncontainable by its boundaries."]]></description>
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<item rdf:about="https://dougald.substack.com/p/making-special-making-scarce">
    <title>Making Special ≠ Making Scarce - by Dougald Hine</title>
    <dc:date>2026-06-06T05:00:25+00:00</dc:date>
    <link>https://dougald.substack.com/p/making-special-making-scarce</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thinking with Ellen Dissanayake about art and being human"

...

"Ten days ago, I sent off the manuscript of the new book to my publisher. As the season of writing and revising came to an end, Anna and I moved into hosting our first online series in over a year. Over five weeks, we have 180 participants from multiple continents, the youngest in their teens and the oldest in their nineties, gathering in larger and smaller groups around the theme of “practice”. In their company I get to chew some more on questions I’ve been writing about.

One thread that links the book and the series is Ellen Dissanayake’s work on art as behaviour. Dissanayake has dedicated a lifetime to studying the arts through an evolutionary lens as a distinctive behaviour of the human animal. It’s one of those cases where someone makes no attempt to build an academic career, but simply follows a hunch over decades, creating a body of work that runs at a strange angle to any established discipline. And although I’m not generally drawn to evolutionary explanations of human behaviour, there’s something about her work that I find compelling in multiple ways.

First, the sheer volume of material she draws together should demolish the persistent idea of art as a crowning achievement of human civilisation, a sophisticated layer of activity at the top of a Maslovian pyramid, a luxury to which we dedicate ourselves once the more fundamental layers of human needs have been taken care of. Rather, the activities we recognise as art are ubiquitous, woven into every example we have of humans being human together.

From the Darwinian perspective with which Dissanayake is working, the distinctive and seemingly universal character of this behaviour suggests that it is an evolutionary adaptation: a behaviour which has made a difference to the chances of creatures like us staying alive, reaching adulthood and having children who also live to adulthood.1 Again, this offers a counter to the idea of the arts as a luxury: if Dissanayake is on the right track, then the behaviour of art literally makes a life and death difference to creatures of our kind.

So what is the essence of this behaviour? After considering various ways of describing it, Dissanayake landed on the expression “making special”. The thing that marks out humans is that we “intentionally shape, embellish, and otherwise fashion aspects of [our] world to make these more than ordinary”. We take a colour, a pattern, a sound, a gesture, a word and lift it out of its everyday context, the setting in which we find or come up with it, and use it in other ways.

Here, I can’t help going beyond what Dissanayake says, because I’m tempted to say that we make worlds together through this behaviour, layered worlds that are woven with meaning. And, further, that the adaptiveness of this (in evolutionary terms) is suggestive of truth: this layered, patterned, meaning-riddled way of inhabiting the world and making it habitable is a better fit for the reality in which we find ourselves than if we attempt to inhabit it as flat and meaningless. And I take it as the mark of modernity that, in contrast to just about every other way of being human together we know about, there has been an attempt to inhabit the reality in which we find ourselves as though it were flat and meaningless.

But that opens a sizeable can of worms, some of which go wriggling through the pages of the book I’ve just written, and others I’m saving for the next book.

For today, I wanted to share a couple of notes on this matter of “making special”. Because the conversations Anna and I are having with participants have brought into view a couple of misleading ideas about “specialness” that haunt the ways of being human that have been taken for granted around here lately.

One version of this is “making special” as “making perfect”. Anna speaks about the debilitating effect of the pressure to make things “Instagram-perfect” – and the quietly radical practice of inviting people into a messy house! If we’re stuck with an idea that for things to be special, or simply good enough, we have to make our lives and our homes look like a photo shoot, then our ability to be human together grinds to a halt. The specialness worth having isn’t captured through a camera lens, it arises out of shared experience – but much of the aesthetics of advertising that developed through the twentieth century was an attempt to evoke this sense of specialness visually, on the page or the screen, until these synthetic substitutes colonised our imagination, leaving us neurotic about our messy human reality.

The other version I’ve been thinking about is “making special” as “making scarce”. Again and again, from different angles, I find myself returning to the production of scarcity as the paradoxical tendency of modern industrial societies. There’s more on this, too, in the new book – but for now, I want to point towards the opposite possibility: that we have the conditions for an abundance of “specialness”, precisely because of the thing Dissanayake is getting at when she identifies “making special” as the distinctive behaviour of the human animal.

In the past two days, I’ve heard participants talk about their experiences telling stories to classes of young children, singing to the dying, learning to care for patients in general practice and working with mothers around the birth of their children. In each case, there was a clear sense of showing up in a way that recognises and contributes to the specialness of what is taking place, here and now, in a given situation, and also a recognition that many of these situations are more or less universal. Another participant spoke about a culture of traditional music in Scotland and the creation of higher-education courses training technically brilliant musicians, but where the professionalisation of an artistic practice detaches it from the embedded, relational field that is the source of what matters most in this culture. This latter example gives a glimpse of how scarcity is produced and how attention is drawn away from the everyday specialness – the extraordinary ordinary, as my old friend Anthony McCann would say – and into a coupling of specialness with exceptional, scarce gifts.

These are themes that have been on my mind a lot and I’ll look forward to exploring further in public conversations, down the line, but I wanted to share these notes in the meanwhile. If we’ve lost the knack of “making special”, or lost confidence in this as a capacity that all of us have, then there are reasons for that, historical patterns that make sense of how we ended up here. But to the extent that Dissanayake is right to locate this capacity on an evolutionary level, that suggests that it is still there, still part of the kinds of creatures we are, and the seeming scarcity is artificially produced.

To be continued…"]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=R_2YN1MungI">
    <title>AI broke the one thing we can't fix - YouTube</title>
    <dc:date>2026-04-12T21:16:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R_2YN1MungI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The barrier to destroying the internet is now zero. 

Sources: 

https://x.com/nikitabier/status/2021632774013432061 

https://x.com/nikitabier/status/2024729689156440326 

https://x.com/nikitabier/status/2017134769113542752 

https://www.dexerto.com/entertainment/x-is-testing-a-dislike-button-again-and-its-coming-soon-3336926/ 

https://huggingface.co/blog/rlhf 

https://www.bbc.com/news/uk-24992393 

https://www.theguardian.com/technology/2025/aug/11/cat-soap-operas-and-babies-trapped-in-space-the-ai-slop-taking-over-youtube 

https://pressgazette.co.uk/media-audience-and-business-data/google-traffic-down-2025-trends-report-2026/ 

https://blogs.nvidia.com/blog/gtc-2026-news/ "]]></description>
<dc:subject>2026 mobitar ai artificialintelligence openclaw internet web online aislop nikitabier xai twitter chatbots jensenhuang scams scamming spam spamming china censorship ccp replyspam bitcoin crypto cryptocurrencies llms rlhf attention economics algorithms ads advertising monetization youtube slop language</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=umgi-CbaSRU">
    <title>Every Reason to Hate Cars - YouTube</title>
    <dc:date>2026-03-29T20:17:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=umgi-CbaSRU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These Stupid Trucks are Literally Killing Us
https://www.youtube.com/watch?v=jN7mSXMruEo

What is the "Correct" Speed Limit?
https://www.youtube.com/watch?v=JRbnBc-97Ps

Crossing the Street Shouldn't Be Deadly (but it is)
https://www.youtube.com/watch?v=_ByEBjf9ktY  

How to (Quickly) Build a Cycling City - Paris
https://www.youtube.com/watch?v=sI-1YNAmWlk

Cities Aren't Loud: Cars Are Loud
https://www.youtube.com/watch?v=CTV-wwszGw8

I'm so Sick of this Lazy Excuse for Bad Cities (Weather)
https://www.youtube.com/watch?v=BXDP9WQe0io 

The Gym of Life
https://www.youtube.com/watch?v=KPUlgSRn6e0

Would You Fall for It? [ST08]
https://www.youtube.com/watch?v=n94-_yE4IeU

Why We Won't Raise Our Kids in Suburbia
https://www.youtube.com/watch?v=oHlpmxLTxpw

Strong Towns Playlist
https://www.youtube.com/playlist?list=PLJp5q-R0lZ0_FCUbeVWK6OGLN69ehUTVa

Suburbia is Subsidized: Here's the Math [ST07]
https://www.youtube.com/watch?v=7Nw6qyyrTeI

America Always Gets This Wrong (when building transit)
https://www.youtube.com/watch?v=MnyeRlMsTgI

These Ugly Big Box Stores are Literally Bankrupting Cities
https://www.youtube.com/watch?v=r7-e_yhEzIw

Parking Laws Are Strangling America | Climate Town
https://www.youtube.com/watch?v=OUNXFHpUhu8 

City Beautiful
https://nebula.tv/citybeautiful
https://www.youtube.com/channel/UCGc8ZVCsrR3dAuhvUbkbToQ

Ray Delahanty | CityNerd
https://nebula.tv/citynerd
https://www.youtube.com/channel/UCfgtNfWCtsLKutY-BHzIb9Q  

---
References & Further Reading

Car harm: A global review of automobility's harm to people and the environment
https://www.sciencedirect.com/science/article/pii/S0966692324000267
https://doi.org/10.1016/j.jtrangeo.20...

Crash Not Accident
https://crashnotaccident.com/

Life After Cars Book, from the War on Cars Podcast
https://www.lifeaftercars.com/

Segregation by Design
https://www.segregationbydesign.com/

Rave DJ mixes available at djnumbernine.com

The number of references far exceeds the maximum length that YouTube allows in descriptions, but you can access the full list of references on Nebula or at this link:
https://notjustbikes.com/references/carharm.txt

This video uses stock footage from Getty Images and other licensed sources.
No generative AI or AI voices were used in the making of this video

Script by Nicole Conlan and Jason Slaughter
Thanks to Simon Clark, Henry (The Closer Look), münecat, and Ray Delahanty (CityNerd) for voicing quotes.

---
Chapters
0:00 Intro
1:38 Car Harm
3:00 Vehicular violence
6:23 Air pollution
8:25 Other pollutants and tyres
11:21 Noise & light pollution
13:08 Climate change
14:10 Sedentary lifestyle & isolation
16:10 Motonormativity
17:12 Advertising and propaganda
19:04 Disproportionate harm
20:15 Children
23:15 People with disabilities
24:39 Low-income households
27:58 The costs of automobility
30:19 Parking
32:19 Housing
33:05 Infrastructure costs
36:18 Land use and habitat destruction
38:20 Small businesses and retail
39:21 Everyone hates cars
41:02 Reducing car harm
42:25 People want fewer cars
43:59 Concluding thoughts
46:17 Nebula & Day Pass"]]></description>
<dc:subject>cars notjustbikes 2026 cities urban urbanism violence safety propaganda advertising children disabilities motornormativity parking housing disability lifestyle isolation climate climatechange globalwarming pollution noise lightpollution noisepollution airpollution bikes biking pedestrians walking suburbia suburbs</dc:subject>
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<item rdf:about="https://daringfireball.net/2026/03/your_frustration_is_the_product">
    <title>Daring Fireball: ‘Your Frustration Is the Product’</title>
    <dc:date>2026-03-19T04:21:20+00:00</dc:date>
    <link>https://daringfireball.net/2026/03/your_frustration_is_the_product</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Shubham Bose, “The 49MB Web Page” [https://thatshubham.com/blog/news-audit ]:

<blockquote>I went to the New York Times to glimpse at four headlines and was greeted with 422 network requests and 49 megabytes of data. It took two minutes before the page settled. And then you wonder why every sane tech person has an adblocker installed on systems of all their loved ones.

It is the same story across top publishers today.</blockquote>

This is an absolutely devastating deconstruction of the current web landscape. I implore you to pause here, and read Bose’s entire amply illustrated essay. I’ll wait.

Even websites from publishers who care about quality are doing things on the web that they would never do with their print editions. Bose starts with The New York Times, but also mentions The Guardian, whose web pages are so laden with ads and modals that their default layout, on a mobile device, sometimes leaves just 11 percent of the screen for article content. That’s four lines of article text.

Bose writes:

<blockquote>Viewability and time-on-page are very important metrics these days. Every hostile UX decision originates from this single fact. The longer you’re trapped on the page, the higher the CPM the publisher can charge. Your frustration is the product. No wonder engineers and designers make every UX decision that optimizes for that. And you, the reader, are forced to interact, wait, click, scroll multiple times because of this optimization. Not only is it a step in the wrong direction, it is adversarial by design.

The reader is not respected enough by the software. The publisher is held hostage by incentives from an auction system that not only encourages but also rewards dark patterns.</blockquote>

I disagree only insofar as the reader isn’t respected at all. Part of my ongoing testing of the MacBook Neo is that I’ve been using it in as default a state as possible, only changing default settings, and only adding third-party software, as necessary. So I’ve been browsing the web without content-blocking extensions on the Neo. It’s been a while since I’ve done that for an extended period of time. Most of the advertising-bearing websites I read have gotten so bad that it’s almost beyond parody.

And even with content blockers installed (of late, I’ve been using and enjoying uBlock Origin Lite in Safari), many of these news websites intersperse bullshit like requests to subscribe to their newsletters, or links to other articles on their site — often totally unrelated to the one you’re trying to read — every few paragraphs. And the fucking autoplay videos, jesus. You read two paragraphs and there’s a box that interrupts you. You read another two paragraphs and there’s another interruption. All the way until the end of the article. We’re visiting their website to read a fucking article. If we wanted to watch videos, we’d be on YouTube. It’s like going to a restaurant, ordering a cheeseburger, and they send a marching band to your table to play trumpets right in your ear and squirt you with a water pistol while trying to sell you towels.

No print publication on the planet does this. The print editions of the very same publications — The New York Times, The Guardian, The Wall Street Journal, The Atlantic, The New Yorker — don’t do anything like this. The print edition of The New Yorker could not possibly be more respectful of both the reader’s attention and the sanctity of the prose they publish. But read an article on their website and you get autoplaying videos interspersed between random paragraphs. And the videos have nothing to do with the article you’re reading. I mean, we should be so lucky if every website were as respectfully designed as The New Yorker’s, but even their website — comparatively speaking, one of the “good ones” — shows only a fraction of the respect for the reader that their print edition does.

Without an ad-blocking content blocker running, one of the most crazy-making design patterns today is repeating the exact same ad within the same article, every few paragraphs. It’s hard to find a single article on Apple News — a sort of ersatz pidgin version of the web — that does not do this. The exact same ad — 6, 7, 8 times within the same article. How many 30-something blonde white women need hearing aids? It’s insane.

People are spending less and less time on the web because websites are becoming worse and worse experiences, but the publishers of websites are almost literally trying to dig their way out of that hole by adding more and more of the reader-hostile shit that is driving people away. The Guardian screenshot Bose captured, where only 11 percent of the entire screen shows text from the article, is the equivalent of a broadcast TV channel that only showed 7 minutes of actual TV content per hour, devoting the other 53 minutes to paid commercials and promotions for other shows on the same channel. Almost no one would watch such a channel. But somehow this strategy is deemed sustainable for websites.

The web is the only medium the world has ever seen where its highest-profile decision makers are people who despise the medium and are trying to drive people away from it. As Bose notes, “A lot of websites actively interfere the reader from accessing them by pestering them with their ‘apps’ these days. I don’t know where this fascination with getting everyone to download your app comes from.” It comes from people who literally do not understand, and do not enjoy, the web, but yet find themselves running large websites.

The people making these decisions for these websites are like ocean liner captains who are trying to hit icebergs."]]></description>
<dc:subject>internet web online reading bloat 2026 ads advertising ux johngruber shubhambose enshittification nytimes theguardian applenews autoplay theatlantic rsj thenewyorker ublockorigin adblockers attention webdesign</dc:subject>
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<item rdf:about="https://www.anildash.com/2026/02/28/apple-video-podcast-power/">
    <title>Why Apple’s move to video could endanger podcasting's greatest power - Anil Dash</title>
    <dc:date>2026-03-03T23:27:51+00:00</dc:date>
    <link>https://www.anildash.com/2026/02/28/apple-video-podcast-power/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["TL;DR:

• Apple is adding support for video podcasts to their podcast app
• Podcasts are built on an open standard, which is why they aren’t controlled by a bad algorithm and don’t have ads that spy on you
• Apple’s new system for video podcasts breaks with the old podcast standard, and forces creators to host their video clips with a few selected companies
• The stakes are even higher because all the indie video infrastructure companies have been bought by private equity, while Trump’s goons go after TV and consolidate the big studios
• If Apple doesn’t open this up, it could lead to podcasts getting enshittified like all the other media

Podcasts are a radical gift

As I noted back in 2024, the common phrase “wherever you get your podcasts” masks a subtle point, which is that podcasts are built on an open technology — a design which has radical implications on today’s internet. This is the reason that the podcasts most people consume aren’t skewed by creators chasing an algorithm that dictates what content they should create, aren’t full of surveillance-based advertising, and aren’t locked down to one app or platform that traps both creators and their audience within the walled garden of a single giant tech company.

Many of those merits of the contemporary podcast ecosystem are possible because of choices Apple made almost two decades ago when they embraced open standards in iTunes when adding podcasting features. Their outsized market influence (the term “podcast” itself came from the name iPod) pushed everyone else in the ecosystem to follow their lead, and as a result, we have a major media format that isn’t as poisoned, in some ways, as the rest of social media or even mainstream media.

Sure, there are individual podcast creators one might object to, but notice how you don’t see bad actors like FCC chairman Brendan Carr illegally throwing his weight around to try to censor and persecute podcasters in the same way that he’s been silencing television broadcasters, and you don’t see MAGA legislators trying to game the refs about the algorithm the way they have with Facebook and Twitter. Even the Elon Musks of the world can’t just buy up the whole world of podcasting like he was able to with Twitter, because the ecosystem is decentralized and not controlled by any one player. This is how the Internet was supposed to work. As early Internet advocates were fond of saying, the architecture of the Internet was designed to see censorship as damage, and route around it.
The move to video

All of this is at much higher risk now due to the technical decisions Apple has made with its move to support video podcasts in its latest software versions that are about to launch. The motivations for their move are obvious: in recent years, many podcasters have moved to embrace new platforms to increase their distribution, reach, engagement and sponsorship dollars, and that has driven them to add video, which has meant moving to YouTube, and more recently, platforms like Netflix. That is also typically accompanied by putting out promotional clips of the video portion of the podcast on platforms like TikTok and Instagram. Combined with Spotify’s acquisition of multiple studios in order to produce proprietary shows that are not podcasts, but exclusive content locked into their apps, and Apple has faced a significant number of threats to their once-dominant position in the space.

So it was inevitable that Apple would add video support to their podcasting apps. And it makes sense for Apple to update the technical underpinnings; the assumptions that were made when designing podcasts over two decades ago aren’t really appropriate for many contemporary uses. For example, back then, by default an entire podcast episode would be downloaded to your iPod for convenient listening on the go, just like songs in your music library. But downloading a giant 4K video clip of an hour-long podcast show that you might not even watch, just in case you might want to see it, would be a huge waste of resources and bandwidth. Modern users are used to streaming everything. Thus, Apple updated their apps to support just grabbing snippets of video as they’re needed, and to their credit, Apple is embracing an open video format when doing so, instead of some proprietary system that requires podcasters to pay a fee or get permission.

The problem, though, is that Apple is only allowing these new video streams to be served by a small number of pre-approved commercial providers that they’ve hand-selected. In the podcasting world, there are no gatekeepers; if I want to start a podcast today, I can publish a podcast feed here on anildash.com and put up some MP3s with my episodes, and anyone anywhere in the world can subscribe to that podcast, I don’t have to ask anyone’s permission, tell anyone about it, or agree to anyone’s terms of service.

If I want to publish a video podcast to Apple’s new system, though, I can’t just put up a video file on my site and tell people to subscribe to my podcast. I have to sign up for one of the approved partner services, agree to their terms of service, pay their monthly fee, watch them get acquired by Facebook, wait for the stupid corporate battle between Facebook and Apple, endure the service being enshittified, have them put their thumb on the scale about which content they want to promote, deal with my subscribers being spied on when they watch my show, see Brendan Carr make up a pretense to attack the platform I’m on, watch the service use my show to cross-promote violent attacks on vulnerable people, and the entire rest of that broken tech/content culture cycle.

We don’t have to do this, Apple!

How this plays out

What will happen, by default, if Apple doesn’t change course and add support for open video hosting for podcasts is a land grab for control of the infrastructure of the new, closed video podcast technology platform. Some of the bidders may be players that want to own podcasting (Spotify, Netflix, maybe legacy media companies like Disney and Paramount), or a roll-up from a cloud provider like AWS or Google Cloud. Either way, the services will get way more expensive for creators, and far more conservative about what content they allow, while being far more consumer-hostile in terms of privacy and monetization. We’ve seen this play out already — video shows on YouTube give advertisers massive amounts of data about viewers, while podcasts can be delivered to an audience while almost totally preserving their privacy, if a creator wants to help them preserve their anonymity. The reason you see podcasters always talking about “use our promo code” in their sponsor reads is because advertisers can’t track you going from their show to their website.

This will also start to impact content. You don’t hear podcasters saying “unalive” or censoring normal words because there is no algorithm that skews the distribution of their content. The promotional graphics for their shows are often downright boring, and don’t feature the hosts making weird faces like on YouTube thumbnails, because they haven’t been optimized to within an inch of their lives in hopes of getting 12-year-olds to click on them instead of Mr. Beast — because they’re not trying to chase algorithmic amplification. The closest thing that podcasters have to those kinds of games is when they ask you to rate them in Apple’s Podcasts app, because that has an algorithm for making recommendations, but even that is mediated by real humans making actual choices.

But once we’ve got a layer of paid intermediaries distributing video content, and Apple leans more heavily into the visual aspects of their podcast app, incentives are going to start to shift rapidly. Today, other than on laptops, phones and tablets, Apple Podcasts app only exists on their Apple TV hardware, and doesn’t even have a video playback feature. By contrast, a lot of video podcast consumption happens in YouTube’s TV apps in the living room. Apple Podcasts will soon have to be on every set top device like Roku sticks and Amazon Fire TVs and Google’s Chromecasts, as well as on smart TVs like Samsungs and LGs, with a robust video playback feature that can compete with YouTube’s own capabilities. Once that’s happened — which will take at least a year, if not multiple years — creators will immediately begin jockeying for ways to get promoted or amplified within that ecosystem. Even if Apple has allowed independent publishers to make their own video podcast feeds, it’s easy to imagine them treating them as second-class citizens when distributing those podcasts to all of the Apple Podcast users across all of these platforms.

The stakes for all of this are even higher because nearly all of the independent online platforms for video creation outside of YouTube have been bought up by a single private equity firm. In short: even if you don’t know it, if you’re trying to do video off of YouTube, all of your eggs are in one, very precarious, basket.
What to do

Apple can mitigate the risks of closing up podcasts by moving as quickly as possible to reassure the entire podcasting ecosystem that they’ll allow creators to use any source for hosting video. Right now, there’s a “fallback” video system where creators can deliver video through the traditional podcast standard, and other podcasting apps will show that video to audiences, but Apple’s apps don’t recognize it. If Apple said they’d support that specification as a second option for those who don’t want to, or can’t, use their video hosting partners, that would go a huge way towards mitigating the ecosystem risk that they’re introducing with this new shift.

If Apple can engage with a wide swath of creators and understand the concerns that are bubbling up, and articulate that they’re aware of the real, significant risks that can arise from the path that they’re currently on, they still have a chance to course-correct.

Some of these decisions can seem like arcane technical discussions. It’s easy to roll your eyes when people talk about specifications and formats and the minutiae of what happens behind the scenes when we click on a link. But the history of the Internet has shown us that, sometimes, even some of what seem like the most inconsequential choices end up leading to massive shifts in a larger ecosystem, or even in culture overall.

A generation ago, a few people at Apple made a choice to embrace an open ecosystem that was in its infancy, and in so doing, they enabled an entire culture of creators to flourish for decades. Podcasting is perhaps the last major media format that is open, free, and not easily able to be captured by authoritarians. The stakes couldn’t be higher. All it takes now is a few decision makers pushing to do the right thing, not just the easy thing, to protect an entire vital medium."]]></description>
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<item rdf:about="https://aeon.co/essays/what-we-think-is-a-decline-in-literacy-is-a-design-problem">
    <title>What we think is a decline in literacy is a design problem | Aeon Essays</title>
    <dc:date>2026-02-20T05:14:04+00:00</dc:date>
    <link>https://aeon.co/essays/what-we-think-is-a-decline-in-literacy-is-a-design-problem</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your inability to focus isn’t a failing. It’s a design problem, and the answer isn’t getting rid of our screen time"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

See the ProPublica story:
https://www.propublica.org/article/kristi-noem-dhs-ad-campaign-strategy-group

Other refs:
Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction" https://amzn.to/4s5svwR
Algirdas Julien Greimas "Semiotics and Language" https://amzn.to/4tRF3cT
Jean Baudrillard "Simulacra and Simulation" https://amzn.to/4rWMzkC
Wilhelm Reich "The Mass Psychology of Fascism" https://amzn.to/4tAS3mS

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
<dc:subject>fascism latefascistaesthetics fascistaesthetics 2026 plasticpills aesthetics walterbenjamin jeanbaudrillard wilhelmreich algirdasjuliengreimas semiotics trumpism donaldtrump us media socialmedia hyperrealism power threat violence kristinoem guns dhs ice police policing militarism baudrillard reality stephenmiller jdvance meaning messaging policy dickcheney tv television performance transparency theater pallywood marketing corruption canon carlschmitt advertising propaganda italy nazis nazigermany germany italia mussolini benitomussoilini luxurybrands hugboss politics rolex capitalism fendi chanel bimbocore louisvuitton christiandior balenciaga emergency strategygroup fascists aesthetization flags symbolism symbols ivylee hyperreality dior hypernormalization ussr conspiracy conspiracies publicreleations inequality elites fashion democracy ford ibm truenation purification rebirth nationalism scapegoating business 1920s 2020s standardoil profits profit corporations corporatism immigration elonmusk peterthiel ser</dc:subject>
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    <title>More Than Human? | Commonweal Magazine</title>
    <dc:date>2026-01-02T02:14:30+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/literacy-culture-evolution-scialabba-knowledge-george</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When culture evolves too soon"

...

"We must either accept cultural overload or else find some way to extend our range, augment our capacities, enhance our neurophysiology."

...

"The design of a culture, the shape of a species’s collective sensibility is a political question."]]></description>
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<item rdf:about="https://bayareacurrent.com/tech-billboard-decoder-the-great-tech-vibe-shift/">
    <title>Tech Billboard Decoder: The Great Tech Vibe Shift</title>
    <dc:date>2025-12-15T05:43:07+00:00</dc:date>
    <link>https://bayareacurrent.com/tech-billboard-decoder-the-great-tech-vibe-shift/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tech companies used to portray themselves as do-gooders. But as Palantir's new billboard suggests, their commitment to domination was there all along."

...

"You have arrived at the airport at the crack of dawn. Bleary-eyed and only semi-conscious, you rush towards your gate. Suddenly you’re met with an enormous ad: PALANTIR TECHNOLOGIES. SOFTWARE THAT DOMINATES. There’s a giant abstract logo, which looks like an orb hovering ominously on top of an open book. You were about to embark upon an airplane trip but now you have found yourself on a trip of another kind. And it’s a bad one.

Such was the experience that awaited travelers at San Francisco International Airport this summer. Located in Harvey Milk Terminal 1, across the way from an outpost of Green Apple Books, this massive display ad loomed menacingly over passengers waiting in line for the lounge or walking to the Ritual Coffee. Welcome to San Francisco: we have books, coffee, and domination. 

Understanding Palantir

It’s a strange ad, but it makes more sense once you understand Palantir. Despite having a market cap of over $400 billion at time of publication— only a little less than Netflix, and twice that of Uber — Palantir isn't a household name, mainly because it isn’t consumer-facing. It was founded in 2003 by Peter Thiel, whose previous company, PayPal, had just gone public, providing him with ample startup capital. But where PayPal’s product was for consumers, Palantir's product was targeted at organizations, primarily government agencies and corporations. What the software actually does is notoriously hard to pin down — even former employees struggle to explain it concisely — but it basically involves centralizing an organization’s internal data in order to draw insights. Thiel’s original vision involved adapting PayPal’s fraud recognition system for counterterrorism purposes: “I defined the problem as needing to reduce terrorism while preserving civil liberties,” Thiel said to Forbes in 2013. 

So what exactly is Palantir dominating? In theory, they are dominating the bad guys. The name Palantir comes from the Lord of the Rings trilogy, in which a ‘palantir’ is a crystal ball used for scrying and divination made by elves. From the name alone you get a glimpse of a whole worldview: the gentle, noble, and conveniently Aryan-looking elves versus the savage orcs who threaten to upset the social order.

Palantir the company, then, is surveillance software to help the good guys protect themselves from the bad guys. At least, that’s the theory. In practice, it is murkier. In a world that is becoming increasingly unequal and militarized, where the definition of terrorism has seemingly expanded to include antifascists and immigrants, Palantir’s software ultimately emboldens a repressive right-wing regime. Their founding mission is explicitly centered on ‘defending the west’. It’s been criticized for its work with the military, with ICE, with the LAPD, and the IDF. Who, exactly, are the bad guys here?

Advertising that dominates

Let’s go back to the airport ad. What’s curious about this ad is that it says nothing about the actual technology; instead, it’s purely a flex, establishing the company as a lifestyle brand with a sharp edge. Palantir has long been associated with a particularly masculinist strain within the tech industry, one which fetishizes defense tech and espouses conservative values. The subtext: You cucks, with your boring Silicon Valley jobs. If you were real men, you’d work at Palantir. Tech workers who’ve been paying attention should get this message, as Palantir relocated its HQ from Palo Alto to Denver in 2020, citing high rents and Silicon Valley's 'woke mob.'

This branding is juvenile — an unimaginative attempt to dominate the viewer. But maybe because of that, the ad feels like a perfect symbol for our times. The tech industry has undergone a profound vibe shift in recent years. These days, it feels more sinister: more mask-off, more openly evil. The early 2010s felt playful and optimistic, but the current moment is cynical and even nihilistic. Dinky social apps to ‘make the world a better place’ aren't cool anymore. You know what's cool? Domination.

How did we get here?

Let's turn the clock back a decade. It’s December 2015, nearing the end of Obama's second term. Donald Trump is running for president but he is mostly ignored by a largely Democrat Silicon Valley establishment. It’s a different time: lighter, more effervescent. Facebook is not yet Meta and their ‘social mission’ is to 'make the world more open and connected'. Google, recently restructured as ‘Alphabet’, still has a reputation as a good employer. Money is flooding into the tech industry in the pursuit of easy profit. Startups that claim to be ‘disrupting X’ or building ‘Uber for Y’ are raising money left and right. A wifi-connected juice machine has raised $20 million and is seeking more. 

[image: "A "noogler" (new Google employee wearing a propeller hat) of yesterday gazes upon Palantir's billboard. (Art: Wendy Liu / Bay Area Current)"]

Even then, tech has its detractors. The Google bus protests are highlighting divisions between the incoming tech elite and the city’s existing residents. Questions are being raised about Theranos, the blood-testing company helmed by Stanford dropout Elizabeth Holmes, whose primary qualification may be her Steve Jobs impression. Critics are worried about potential monopolies, the industry’s lack of diversity, and the exploitative nature of the gig economy. But the critiques don’t receive much attention. Insiders easily tune them out.

Now let's fast forward through the next decade of Silicon Valley. First, prison sentences: Elizabeth Holmes gets 11 years for defrauding investors; Sam Bankman-Fried, founder of cryptocurrency exchange FTX, gets 25 for fraud and money laundering. Next, high-profile oustings: Travis Kalanick, founder of Uber, is pushed out after a slew of bad press; Adam Neumann, founder of office space giant WeWork, steps down after a disastrous attempt at going public. The juice machine company goes bankrupt, but only after raising $120 million. Google quietly removes most mentions of ‘Don’t be evil’ from their corporate messaging. And of course there is the Cambridge Analytica scandal, which ignites a broader public distrust of Facebook, later rebranded as Meta in a mostly forgotten attempt to capitalize on the metaverse.

Meanwhile, the tech job market becomes more precarious. Tech giants, coasting on their worker-friendly reputations, increasingly employ contractors who lack the benefits of full-time employees. Layoffs become commonplace, often preceded by ‘voluntary exit’ programs or hiring freezes. Perks and benefits are scaled back.

At the same time, tech workers are organizing collectively in brave and unprecedented ways. But management eventually cracks down. Google retaliates against employees involved in labor organizing, in the mass walkout, in protesting work with Israel, in criticizing bias. At smaller companies, attempts to form unions meet with aggressive responses, including mass firings.

Slowly but surely, a different labor regime is inaugurated: less carrot, more stick. It turns out firms don’t need to lavish all their employees with perks to get the job done; defeated workers can be as productive as happy ones. Management can be more mercenary when deciding which employees are worthy of the carrot. Elon Musk buys Twitter, renames it to X, and cuts 80% of its workforce, in a private-equity-style act of cleaning house which he would later repeat with DOGE. Executives all over the world watch, and ponder. The Twitter building, a powerful symbol of city-backed 2010s-era tech optimism, is abandoned in the cost-cutting frenzy, to be taken over by a company that provides AI for the trucking industry.

The culture of tech work changes, too. The early 2010s were the heyday of corporatized diversity programs, which at least offered lip service if not much in the way of actual change. Still, their mere existence spurs a reactionary backlash. The infamous James Damore incident at Google sparks a broader debate about the purpose of diversity efforts, given the so-called ‘biological differences’ between the genders. Later, the ‘MEI’ hiring philosophy proposes ‘Merit, Excellence, and Intelligence’ as a conservative counterpoint to the ’Diversity, Equity, and Inclusion’ movement, and is immediately praised by Elon Musk.

While all this is happening in tech, the broader political landscape of America is swinging to the right — with Silicon Valley not far behind. Trump becomes president, twice, with the early backing of Peter Thiel, whose companies stand to benefit enormously from the new administration. The rest of the tech industry does what it can to cozy up to power, donating to fund Trump’s new White House ballroom and angling for contracts with ICE. And despite the progressive sheen of Obama’s presidency, it ends with many of his staffers going through a revolving door toward cushy tech jobs.

The vibe shifted. Feel-good mission statements and not-quite-profitable social apps are out. Naked greed, in. The Palantir ad says the quiet part loud. The optimistic frothiness and utopian rhetoric of the long 2010s are over, having been superseded by the fetish of force and aggression. Now tech is all about making money through domination, whether in the form of military technology or through AI that menaces workers.

The macroeconomic explanation

The vibe shift has not gone unnoticed within the industry. Tech insiders ascribe the exuberance of the 2010s to something called ZIRP — zero interest rate policy — referring to the low interest rates that prevailed across the western world in the wake of the Great Recession. In other words, money used to be cheap, and much of it flooded into the tech sector despite the riskiness of the investments. But in the early 2020s, the ZIRP era came to an end. Interest rates are higher now, and investors altered their expectations — there’s less appetite for zany products with uncertain business models. Hence the vibe shift, and the Tech Bro 2.0.

This explanation has some power, but it’s not the whole story. The political dimensions of the shift are important, too. The ending of the cheap debt era coincides with a larger rightward swing in the US and globally. It aligns with a bi-partisan agreement that a new Cold War should dawn. Money being more expensive has not stopped massive amounts of cash from being poured into the black hole of AI, which is now positioned as a weapon in the arms race against China as well as a way to save the flagging US economy. Thus we end up with trillions of dollars being pumped into data centers to power this new AI boom, despite all the terrible environmental and social consequences.

The vibe may have shifted, but we shouldn’t overlook the continuities between the previous era and the current one. The tech industry was never as wholesome as it claimed to be. The crypto boom and bust, which minted new garish billionaires even as others lost their life savings, is a farcical repeat of the collapse of the dotcom bubble. Tech workers being afraid to speak out despite moral qualms about what they’re building is what CEOs have always wanted, even if they couldn’t admit it. Meanwhile, the industry’s new billionaires are using their ill-gotten gains to build compounds and commission superyachts — and we may soon see the world’s first trillionaire, in the form of Elon Musk, who first made his mark during the dotcom era. Can we "]]></description>
<dc:subject>wendyliu billboards technology siliconvalley palantir masksoff domination authoritarianism technofascism peterthiel paypalmafia paypal netflix uber supremacy fascism antifascusm terrorism militarization surveillance 2025 idf iof ice police policing privacy maga trumpism donaldtrump whitesupremacy counterterrorism civilliberties ads advertising lapd meta facebook cambridgeanalytica elizabethholmes sambankman-fried traviskalanick fraud wework adamneuman crypto cryptocurrencies ftx moneylaundering elonmusk twitter greed aggression force billionaires oligarchy</dc:subject>
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    <title>You are not immune to shopaganda | The Verge</title>
    <dc:date>2025-12-08T19:05:01+00:00</dc:date>
    <link>https://www.theverge.com/cs/features/836456/influencers-tiktok-debt-shopaganda</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Behind every influencer is an army of the influenced, many adrift in debt and mass-produced clutter. The platforms need influencers and influencers need audiences — but what the influenced need is not so simple. Behind every influencer is an army of the influenced, many adrift in debt and mass-produced clutter. The platforms need influencers and influencers need audiences — but what the influenced need is not so simple."]]></description>
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<item rdf:about="https://www.sfchronicle.com/california/article/social-media-phone-online-21095009.php">
    <title>Is anyone actually having fun on social media?</title>
    <dc:date>2025-11-29T04:41:38+00:00</dc:date>
    <link>https://www.sfchronicle.com/california/article/social-media-phone-online-21095009.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People like Bay Area rapper Kreayshawn are divorcing themselves from social media because it's no longer cool, and in decline. Experts call it a "tipping point" for the online lure."

[archived:
https://archive.ph/qEHWQ ]

"In a quiet pocket of the internet, like a chubby envelope floating in outer space, there’s a video freckled with polychromatic grain of a girl sitting with her grandfather in a Tenderloin SRO during the late ’90s: They sit in front of his and hers computers resurrected from parts and pieces of machinery hunted from dumpsters outside downtown San Francisco corporate office buildings.

The girl wears braces and silver headphones. She sings. Her grandfather looks for his glasses. They bicker as the girl’s fingers clatter on her keyboard.

This is Natassia Zolot’s core childhood memory: when the internet was something you wormholed into through cables and routers, hand in hand with your pop pop like exploring a new quadrant of the universe.

“I was always still blogging or posting as much as I could. I moved around a lot and had times when I was homeless, and I felt like always having my mark online was a way to always have a space,” she said. “Now I have a reputation online because I built all my career and my art off the internet.”

Twenty six years later, though, Zolot — also known by her rapper name, Kreayshawn — is trying to divorce herself from the internet’s putrefied heart. While social media addiction entered our collective consciousness long ago, what’s new for Zolot and others is that social media is no longer cool, that it’s in decline. That it’s being taken more seriously as a detriment to mental health. Anna Lembke, a psychiatrist and medical director of addiction medicine at Stanford, called this particular moment a “tipping point.”

“Enough people are unhappy enough with their social media use that they’re willing to make a change,” Lembke wrote to the Chronicle in an email. “I also think that there’s a better understanding now than there was previously of the harms of spending too much time online consuming social media and other digital platforms.”

This change is notable. For starters, social media apps haven’t been very social recently. In April, Meta said that time spent viewing friends’ content has fallen from 22% to 17% on Facebook and from 11% to 7% on Instagram over the past two years. Instead, what Zolot’s seeing more of in the last year are ads and influencer content geared toward a flattening, tiresome algorithm. “Say you want to look up something about donuts and then they only show you donuts for the next 40 minutes,” she said. “That’s not very explorative or fun or anything.”

“It’s almost entirely ads, and I just don’t care about the things I’m seeing anymore,” said Matty Placencia, 29, a model, actor and artist in Alameda, who has also noticed that their friends don’t post much anymore. 

“More and more young people are opting out of social media, recognizing that the medium creates the illusion of connection, without providing the types of intimate connections they’re craving,” Lembke said.

[image: "Eric Becker displays a folder on his phone titled “Doomscrolling,” with apps that are on timers to limit possible time on social media and other apps."]

Zolot has found intimacy more elusive than ever on the internet. Everyone from insurance companies to record labels to athletes have learned how to yoke the algorithm for profit, she said, making platforms more “surveillance and ad-centric.” 

“(Social media) is corny now, like somebody’s orchestrating it,” she said. “When you see Wendy’s and Taco Bell beefing with each other on TikTok, you’re like, ‘OK, shut up. You’re all owned by f—ing BlackRock. Who cares? ’”

Wendy’s and Taco Bell aren’t owned by BlackRock, a massive assets manager, but Zolot’s point remains: Content that utilizes social media trends to make money, which has bloated the internet, lacks heart.

“Nobody’s on Instagram, laying on their stomach and kicking their feet up, going like, ‘I’m having the best time. Nobody’s on Instagram having fun.”

In October, Zolot put her theory to the test, asking her 400,000 Instagram followers if they were having a good time. Of the people who responded, 60% said “No.”

Zolot has been chronically online since her childhood in that San Francisco SRO. Her ability to dig up esoteric treasures from the archived recesses of the internet and her viral, still iconically Bay Area, hits like her 2011 song “Gucci Gucci” have earned her a large social media following from Gen Alpha to Millennials. But platforms like Instagram and TikTok are hollowing out the internet, she says.

“The internet has a billion websites — how are we only using three websites every day?” she said from her home in Portland, a pair of gamer headphones hugging her black bangs during a Zoom session.

Still, Zolot feels drawn to Instagram to stay connected with her fans and to share her work. So, during the last few months, she’s gotten serious about squaring her loyalty to her fans with her mental health.  

Placencia’s feelings toward social media have also changed since they were a kid eating Marie Calendar’s pot pies on the carpeted floor of their living room and scrolling through trivia websites and sending Facebook messages to friends using the family computer. Now, though, portaling into Instagram is like “smoking a cigarette.” 

“(Social media) went from something that I wanted to do to something that I felt like I needed to do,” said Placencia, who uses Instagram in part for their career, sharing photoshoots and acting reels to their profile grid.

Eric Becker watched his father hug his computer as an earthquake hit, porcelain dolls shattering on the floor around them back when Becker was a kid in Campbell during the ‘80s. Now 53 and a former software engineer living in San Francisco, he’s also seen his relationship to the internet bend toward addiction. 

Becker remembers when the internet was a more horizontal place, where artists and celebrities and everyday people bumped shoulders on late-’90s and early-2000s platforms like AOL, Friendster and MySpace. Once, in the ’90s, the singer songwriter Blowfly, a personal idol of Becker’s at the time, messaged him and asked if Becker could recommend music venues in San Francisco. Sitting at his desk in a downtown high rise, Becker lost his mind — in a good way. And he thought to himself that social media would change everything.

“It felt like that promise of the internet, that it was gonna connect all the like minds and liberate people,” Becker said. “I thought the technology, because it was developing so fast, was going to evade political control, for the most part, and facilitate more direct democracy.”

But, in more recent years, Becker got a “peak behind the curtain,” he said, and saw how social media companies were built on the private information of their users.

Now, he’s trying to part with it. While he’s left most of the mainstream platforms, he’s still on Reddit a lot, where he loves to engage with obscure questions about fungi and mushroom foraging. But the hours and hours he spends on Reddit — a habit that first calcified during pandemic isolation — have been weighing on him. So have the comments he’s seen from internet trolls and right wing conspiracy theorists, whose edgelord tendencies only seem to grow worse. 

His teenage kids’ relationship with social media worries him, too. While one of his kids mitigates their phone usage by regularly removing social media apps from their phone, the other often spends several hours a day on their screen. It’s hard to convince them to spend less time on their phones if he can’t walk the walk, Becker said.

These days, Becker stows his Reddit app on a far-flung corner of his phone — past a page of music-making apps. It’s been an effective stop-gap, often propelling him toward creating something beautiful, rather than doom scrolling.

“‘This is what I need to be doing,’” Becker thinks to himself when he lands on the music app page on route to Reddit. “‘I need to be finishing the song that I’ve been working on for two weeks, not like arguing with some butt.’”

[image: "Eric Becker has been replacing his time on social media to make music using his ukelele, using his phone to produce music."]

At her desktop, Zolot held up her phone. It’s small, roughly the size of her palm. A Jelly Star by Unihertz, the mini phone was recommended on the Reddit page “dumphones.” She hopes it can help to tame her own social media addiction. In her other hand she held her vape to show how similar they are in size. 

Initially, Zolot had tried other methods like making her phone’s screen black and white, setting limits on screen time and deleting the Instagram app so that she’d have to redownload it every time she used it. But that “still felt gross because it pretty much proves to you that you’re a drug addict,” she said.

Two months into having a mini phone, Zolot says her phone screen time is down to two hours a day from eleven hours a day. The key, Zolot says, is the inconvenience of its size.
 
“Having a shitty little screen where you’re squinting to read the caption, you’re like, ‘This is dumb — I’m not gonna spend more than five minutes watching some reels,’” she said. “Versus on your iPhone, it’s so seamless and juicy, and they design it to keep you addicted and hurt. When I do get on my iPhone as a treat, the screen resolution is really captivating — it’s like butter on toast.”

Zolot now keeps her iPhone in a drawer and takes it out occasionally to Facetime her mom and her sister. She responds to Instagram direct messages on her desktop and occasionally posts content to maintain her internet presence, but it’s become a routine rather than a compulsion. 

Since limiting their time on social media, Zolot, Placencia and Becker say that they’re happier humans. They don’t think they’ll relapse, either.

The initial withdrawal from being off his phone was physically uncomfortable, Becker said. Since stepping back from Reddit, he’s finished several books and is halfway through an online lecture course about Egyptology.

“My mental well being is way better,” Zolot said after overcoming a similar withdrawal period, which she got through by folding a thousand tiny paper stars. 

“I’m more content now,” said Placencia, who’s been spending more in-person time with friends.

Zolot’s turned back to an older part of the internet beyond mainstream social platforms. The part that felt like an adventure when she spent nights with her grandfather. The part that felt free.

“I feel like people should be able to have a space online where they’re able to say ‘murder’ or ‘genocide’ without being shadowbanned,” she said.

Zolot typed “smile.rip” into her desktop browser and a swarm of colors and sparkles and text populated the page, which was reflected in each lens of her glasses. Unlike Instagram’s perfect grid, smile.rip, which Zolot coded herself, feels alive. Animated widgets vibrate and pulse on the screen like neon organs and the pixels shimmer like blood. It’s like stepping into your childhood best friend’s eccentric bedroom, which is how more corners of the old internet — on free website-building platforms like GeoCities — used to feel. 

“You gotta make your own website,” she said. “You gotta do something cool online or go to archive.org and just look up old shit. I spend an insane amount of time on Google Maps, just dropping my pin around the world, cruising around everywhere, finding islands.”"]]></description>
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<item rdf:about="https://overthefield.substack.com/p/the-predator-sees-all">
    <title>The Predator Sees All - by Hadden Turner - Over the Field</title>
    <dc:date>2025-11-28T23:35:54+00:00</dc:date>
    <link>https://overthefield.substack.com/p/the-predator-sees-all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So then, if you want to join in the battle against the Machine — reclaiming your attention and the health of your bank balance — let me finish by presenting a manifesto for becoming camouflaged to the Machine.

1. Keep offline for as long as you can.

2. Buy with cash that cannot be traced or tracked and become regulars at your local stores which, conversely to websites, are not harvesting your personal data every time you step into their premises.

3. Strenuously avoid the Internet of Things and any smart technologies that you can assume are collecting personal data well beyond their remit.

4. When you do go online, say no to all those cookies and install anti-tracking software on your devices.

5. Hide and disguise your personal presence where you can and be on your guard every time you are asked for personal information.

6. Keep your digital footprint minimal

7. Become, as James. C. Scott says, illegible to the Machine and infuriate it with your unpredictability.

8. Stay away from areas of high advertising densities, or, if you know you are likely to encounter them (such as on public transport) keep your eyes down on in book or engross yourself in conversation.

9. Say no to AI where you can.

10. Don’t click on the adverts. 

These are some of the things we can all do in the battle against the beast which is consuming us. Remember, predators rely on observation. If they can’t see you, they can’t consume you — and nothing weakens them more than starvation."]]></description>
<dc:subject>haddenturner luddism neoluddism luddites neoluddites offline online socialmedia algorithms ads advertising consumerism consumption society jamescscott unpredictability digital analog presence privacy identity software tracking cookies web internetofthings technology resistance trackers paulkingsnorth rsthomas metrics data bigdata socialgood moderation</dc:subject>
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<item rdf:about="https://www.leahreich.com/the-global-fraud-economy/">
    <title>The Global Fraud Economy</title>
    <dc:date>2025-11-22T00:28:25+00:00</dc:date>
    <link>https://www.leahreich.com/the-global-fraud-economy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anyway, the story was about Meta and all the money the company makes from facilitating fraud on a gargantuan scale by showing users fake ads, ads for fraudulent investment schemes and other scams, and ads for banned goods. "Banned goods" is a vague phrase, so you should know that based on my extremely cursory internet search, "banned goods" include but are not limited to: banned medical products (while blurring or blocking ads for abortion pills), gun silencers, "nudify" apps that allow users to create sexually explicit deepfakes, gambling and sports betting, along with pornographic and sexually explicit ads (all examples in that article are blurred, don't worry) and "AI girlfriend" apps.

Need I remind you that if you are a user on any of these platforms, your content may immediately be removed for the slightest hint of nudity or anything else that violates the terms of service. You won't be able to contest this. You might even be banned from using the app. Meanwhile, this is happening:

[screenshot from https://igamingexpert.com/news/affiliates/urgent-warnings-over-metas-16bn-illegal-gambling-ad-revenue/ :

"Earlier this year, a report by the All India Gaming Federation found that Facebook ads were fuelling the black market in the country with unlicensed betting platforms getting 1.6 billion visits over a three month period.

In September, the Malaysian government called Meta out on its prevalence of black market gambling ads."]

Now, Meta obviously does not show these ads intentionally, but show them it does. According to internal estimates, it sometimes shows them to the tune of 15 billion scam ads a day across all platforms. Fifteen billion. That is a mind-boggling number. Beyond the very serious issue at hand—users being shown and clicking on scammy ads or sexually explicit deepfakes, Meta making money from these views and clicks—it's also a reminder of just how many ads are being shown every day on Meta products alone. 15 billion is a fraction of that total.

Oh and by "all the money the company makes," I mean upwards of 10% of Meta's total revenue, according to those same internal estimates. So you know, about $16 billion dollars. (These numbers have since been walked back.)

Now, I should be fair. While I've seen some questionable ads on Instagram, I've also seen crazy scam ads on non-Meta platforms. Recently, during a random YouTube rabbit hole, I got served a series of super weird deepfake ads about natural erectile dysfunction remedies, and one of them featured... Oprah?

And you know, Meta has tried to remediate the issue to a certain degree. They've done internal assessments, developed automated systems to not only flag questionable ads and marketers but predict whether those advertisers are likely to be scammy, taken down millions of ads, reduced user reports of scam ads, and penalized marketers that are likely to be scammers by charging them higher ad rates.

I'm sorry. They do what?

They charge higher ad rates. The idea is that higher rates will be a deterrent for anyone who might—might! not absolutely certainly!—be looking to advertise gambling or firearm supplies or sex. In other words, the company actually makes more money from these ads than from other ads.

The cursory internet search I mentioned above also produced a number of results on sites like Reddit and Quora, among others, full of people trying to figure out how to effectively report these ads and get them taken down, or even report the ads at all. To be clear, these posts and comment threads are not data, and many of them might not even be real. So they don't prove anything about Meta's reporting systems or the company's willingness to remove questionable or overtly problematic ads. But seeing them, and thinking about experiences I've had as a user, it does make you wonder how they reduced user reports of scam ads by 58%. Were there in fact fewer scam ads to be reported? Or did the changes in content moderation policies earlier this year have an impact on ads? Did users feel more discouraged from reporting, or confused by the process? I don't know the answers to any of these, but they would be interesting to dig into.

But! I'm not here to accuse Meta of doing anything shady when it comes to user reports, or secretly trying to earn more money from scam ads. (Hello to any lawyers who may be reading!) I just want to talk about these ads, and about the fact that a company is able to make billions of dollars by in part by providing a platform for advertisers who may be actively scamming and defrauding the users of those platforms. Including users who try to report it, whose own content has been taken down for ostensibly violating terms of service, who are vulnerable or at risk. Or they may not, it's really hard to be certain.

When I worked at big tech companies, it was often hard to explain to non-tech workers (and frankly even to many tech workers) why companies made products and made decisions that users hated. Occasionally, it was a case of a necessary change to navigation, an honest attempt to fix an issue even though it would be impossible to please everyone, or a choice that was based on a particular engineering decision the company had committed to years ago. It's not always possible to build the thing you want. But the funny thing you learn is that it usually is possible to build the thing a business partner wants, or a particular VP, or a major partner, or an advertiser.

Sometimes this is even explicit. At one job (not at Meta), I pushed back when another team kept telling my team they were taking a feature we had worked on and were pushing it to production. I told them that in every single study we had conducted, users didn't like the feature. I made it clear that the feature would actively worsen the experience for the people who paid to use the product. The other team kept insisting, and it was only after they said I was being obstinate and "kind of bitchy" (for advocating for our users) that someone cleared things up: Someone in the C-suite had personally told the team to ship the product because they'd promised it to business partners. I said, "Oh. Why didn't you guys tell us this to begin with? Even I know there are some battles you can't win."

When you work in tech long enough, if you have any level of detachment and cynicism (and any sense of ethics or morals), you start to see patterns. All those new legal policies that provide cover, all those public statements touting efforts to mitigate the problem full of results that sound so impressive. But who really holds these companies accountable for enforcing those policies? How do we know the problem is being solved when we have no other numbers or metrics to compare? How much money would the company stand to lose if the problem was fixed to the full extent possible? To the public it always seems like not enough is being done, but when you've been on the inside long enough you can see that it's actually just enough being done: Look how hard we’re trying! It’s such a tough intractable problem! Who could possibly solve it! :jazz hands:"

...

"Tech, as we've learned the hard way, has been our 21st Century Empire. You might think this is crazy, because no one was "born" to tech. But that's always been part of the ethos behind the industry. A special Shangri-La, a meritocracy in which certain people succeed because of their obvious natural born talents, a selective club of special geniuses. Although this is the United States, so instead of class we just call it money. And there are a lot of ways to take money from dupes and dummies.

It's not just the ads. It's NFTs, crypto, and the insane proliferation of sports betting sites, new versions of the old sleight of hand and back room bookies that we've now spit-shined and legitimized. It's the products that suck you in and ruin your attention span, then push ten different things at you to distract you and make you forget whatever it was you'd intended to do. But it's also the ads. The relentless barrage of shit that you click on even when you don't mean to, the ads that skirt the rules, the ads that remind you that you're not only trading your data for a free service, you're also allowing the company to pick your pockets, access your life savings, and flash you in the bargain.

You already know that the tech industry has attracted people who think they're smarter than everyone else. Now you know they also think the rest of us are total dummies, while they're born to rule in this new Empire, fully entitled to take our money. They've been doing it for a while now! No wonder nothing is beautiful, and everything hurts."]]></description>
<dc:subject>leahreich 2025 fraud meta facebook instagram ads advertising society economics internet web online socialmedia scams reddit quora cynicism trust us nfts crypto cryptocurrencies sportsgambling gambling sports blackmarket</dc:subject>
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<item rdf:about="https://www.nybooks.com/articles/2025/12/04/how-the-web-was-lost-internet-this-is-for-everyone/">
    <title>How the Web Was Lost | James Gleick | The New York Review of Books</title>
    <dc:date>2025-11-20T19:48:14+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2025/12/04/how-the-web-was-lost-internet-this-is-for-everyone/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Internet was not meant to suck."

[archived:
https://archive.ph/ETmEP ]

"Walsh is one of those users—part of a generation that could say (as she did in a previous book, Girl Online), “All the good things in my life have come to me through screens.” She, too, celebrates an egalitarian ideal. We built Internet culture; it’s ours. “I don’t like books that use ‘we,’ that extend the particular to the general, erasing the subtleties of individual lives,” she writes, but that we is essential to her project. She speaks for a presumed cohort of like-minded people, of the right age and class to have a shared experience of the Internet, from then to now. “Online, what we make, and make of ourselves, is experienced not only by whoever’s in front of us, but by anyone we allow to see (and some we don’t),” she says. This is a nice observation. She adds, “Online isn’t an unfamiliar experience any more; it’s where we live.” She means the people who are sometimes called consumers but who, for Internet culture, are also the creators. Her amateurs were liable to use the word aesthetic with particular pleasure and self-consciousness. She celebrates the aesthetic they created, and mourns it, and celebrates it again.

She barely mentions Berners-Lee, but he anticipated her aesthetic of the creative amateur. He, too, liked chaos—“anarchic jumble.” He deplored the apparent rationality evidenced by urban planners like Le Corbusier: “‘rational’ cities, which segmented neighborhoods by function and stripped buildings of detail and ornamentation.” His design for the web was an antidesign, refusing to impose particular structures, leaving space for unanticipated uses and possibilities: “I explicitly conceived of the web to be fractal, thumbing my nose at this kind of false ‘rationality.’” It would evolve, making connections, opening portals, and encouraging creativity. Doctorow remembers it as “a wild and woolly internet, a space where people with disfavored views could find one another, offer mutual aid, and organize.”

Berners-Lee’s memoir serves as a genial potted history of the Internet. He seems to have been everywhere and met everyone. Making an early appearance is a college student at the University of Illinois at Urbana-Champaign named Marc Andreessen. In 1993 he was an undergraduate learning to program—he earned $6.85 an hour writing Unix code at the National Center for Supercomputing Applications, on the Illinois campus. With another NCSA programmer, Eric Bina, he wrote a web browser they called Mosaic, intended to be simple and user-friendly, with versions for Windows and Macintosh PCs.

That was exactly what the world needed in this moment, when hundreds of thousands of PC owners discovered all at once, modems squealing, that they could “dial in” to “Internet service providers.” The NCSA, with funding from Al Gore’s program, backed the Mosaic browser with press promotion, and for a while it was so popular that people talked about being “on Mosaic” rather than on the Internet or the web. “Think of it as a map to the buried treasures of the Information Age,” The New York Times gushed. Hardly anyone remembers Mosaic now, the history of the Internet being a history of things that were incredibly hot for an incredibly short time.

Berners-Lee, who recalls a tense meeting with a truculent Andreessen in a campus basement, saw his free-for-all vision being co-opted. In short order, Andreessen graduated, decamped to Silicon Valley, and took the web browser private with his own Mosaic Communications Corporation. He settled an intellectual property lawsuit from the University of Illinois, changed the browser’s name to Netscape, and became one of the first Internet billionaires. He appeared on the cover of Time magazine in 1996 with bare feet and a lupine grin. Thirty years later, Andreessen is one of Silicon Valley’s most powerful venture capitalists, an enthusiastic backer of the current wave of AI and cryptocurrency. He is the quintessential technocrat, a proud captain of what he calls “the techno-capital machine.”

To its users, the web browser was a lovely tool. To its owners, it was a platform—a means of control, a system that locked users in and monitored their behavior. Microsoft, late to the Internet, caught up and countered Netscape with a browser of its own, Internet Explorer. This period was known as the browser war. The browser acquired more and more features—for playing games, watching videos, signing forms, and most of all buying stuff, ideally with a single click. There was money to be extracted, data to be harvested.

In the most profound way, Andreessen was Berners-Lee’s nemesis, but it’s not Berners-Lee’s style to get mad. That’s more Cory Doctorow’s thing:

<blockquote>The internet is getting worse, fast. The services we rely on, that we once loved? They’re all turning into piles of shit, all at once. Worse, the digital is merging with the physical, which means that the same forces that are wrecking our platforms are also wrecking our homes and our cars, the places where we work and shop. The world is increasingly made up of computers we put our bodies into, and computers we put into our bodies. And these computers suck.</blockquote>

What Doctorow means is that the bright, shiny objects of the Internet have become spy tools, surreptitiously collecting information about us—our habits, our desires, our health, our political inclinations—and using it to manipulate our behavior. The platforms that appear to serve users hungry for information—and did serve them, at first—now go to extreme lengths to seize attention. Algorithms designed to maximize “engagement” amplify anger and sensationalism at the expense of truth.

Novel platforms emerged and swelled in overlapping sequence: the browser, the search engine (Google), the social network (Facebook, Twitter), the megastore (Amazon). Before all of these, before any dream of the Internet, the proto-platform was the Bell System—the American telephone network, a monopoly operated by the world’s most powerful corporation. The Bell System left nothing to chance and nothing to the user. It owned the wires and the telephones. Customers were captive, and so were the ostensible regulators, for most of a century.

After the breakup of the telephone monopoly, the new platforms could not lock in users so absolutely. They had to resort to cunning. Case number one: Facebook, which Doctorow calls “a service that Mark Zuckerberg started in his dorm room so that he and his creepy pals could nonconsensually rate the fuckability of their fellow Harvard undergrads.”

He’s not wrong. But users loved it. They exchanged personal news and relationship statuses and music preferences and pictures. Zuckerberg’s was not the first social media service; oldsters may vaguely recall Friendster and then MySpace, which by 2006 had been snapped up by Rupert Murdoch. As Facebook put it in a marketing pitch:

<blockquote>Has it occurred to you that MySpace is owned by an evil, crapulent, senescent Australian billionaire named Rupert Murdoch, and he spies on you with every hour that God sends?

Come to Facebook, where we will never spy on you.</blockquote>

Now, of course, spying on users is the essence of Zuckerberg’s business model. This is what the Harvard business professor Shoshana Zuboff has called surveillance capitalism, a project of behavior control, commodifying individuals’ personal experience and private information to target them with advertising and propaganda.

In Walsh’s terms, creativity has been replaced by extraction. “Creators are back in the age of the patron,” she writes. Customers become unwitting captives: they have friends and followers, but only by sufferance of the platform; if they want to switch to a different service, they can’t take their network with them.

The ironies are abundant, and chief among them is that the early Internet thrived on cutting out the middleman. If people complained about the markup charged by their brick-and-mortar bookstore, the upstart Amazon promised to eliminate the overhead of shelf space, store rents, and clerk salaries and deliver the merchandise straight to their front door. Or straight to the eyeballs—cut out the printers and paper mills, too. The buzzword was disintermediation. Another master of disintermediation was eBay, connecting buyers and sellers directly, cutting out the antique dealers and flea markets. Napster did the same for music lovers, cutting out the record stores; it began enabling song downloads in 1999, operated for a year and a half, claimed 80 million users, and devastated the recording industry.

And now? The platforms are middlemen par excellence. They squeeze buyers and sellers alike. Music streaming services like Spotify and Apple Music say they aim to connect artists with their fans, helping music lovers find the music they love and helping creators find a livelihood; instead they use their centralized control to pay artists less than ever. Google and Facebook, dominating the global advertising market, have colluded to raise prices for advertisers while minimizing the revenue to websites that publish the ads."

...

"Enshittification represents the fulfillment of a vision laid out by Andreessen in a famous 2011 Wall Street Journal essay, still featured on his company website. “Software is eating the world,” he declared proudly. By then he was a major investor in Facebook, Twitter, LinkedIn, Skype, and many others. What he meant by “eating the world” was that Amazon had destroyed Borders, Netflix had destroyed Blockbuster, music-streaming giants were destroying record labels, and Google was “using software to eat the retail marketing industry.” He considered this to be good news.

But software doesn’t eat anything. Tech companies do, when they gain the power to use the levers of the information economy to consolidate and dominate."

...

"Reality has surely disappointed Doctorow yet again. Trump replaced Khan with a commissioner who is reversing her agenda. The antitrust case against Google ended in September with a whimper: the Biden administration had asked for a forced separation of the company’s browser business from its search business, but Judge Amit P. Mehta, having already declared Google a monopolist, backed down. “Here the court is asked to gaze into a crystal ball and look to the future,” he wrote. “Not exactly a judge’s forte.” And Trump has made his own kind of peace with the tech oligarchs: demanding personal obeisance and dispensing favors. Musk and Andreessen became full-throated and deep-pocketed supporters; Zuckerberg and Jeff Bezos donated to his inaugural festivities; Google and Apple executives have come to the White House as supplicants, bearing flattery and gifts. Amazon, Apple, Google, Microsoft, and Meta all joined the list of donors to Trump’s vanity ballroom project in the now-demolished East Wing of the White House.

We amateurs are going to need a work-around."]]></description>
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</item>
<item rdf:about="https://prospect.org/2025/10/13/lewis-powell-memo-nader-chamber-commerce-master-plan/">
    <title>The Ad Campaign for Capitalism - The American Prospect</title>
    <dc:date>2025-11-18T03:34:53+00:00</dc:date>
    <link>https://prospect.org/2025/10/13/lewis-powell-memo-nader-chamber-commerce-master-plan/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the 1970s, corporate America struck back at the forces attempting to rein it in. One of their tactics was a public service announcement."

[See also:
https://www.youtube.com/watch?v=F2KOJe2p1NY ]]]></description>
<dc:subject>2025 davidsirota jaredjacangmaher 1971 lewispowell ralphnader ads advertising capitalism powellmemo scotus corporations corporatism marketing pr 1974 genesydnor bartoncummings williambaroody generalmotors cbs amway buiness economics propaganda charlesschulz mobil procter&amp;gamble deloresgould 1970s jaredball freemarkets media publicopinion freemarketfundamentalism business williamkunstler counterinsurgency politics</dc:subject>
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</item>
<item rdf:about="https://www.reuters.com/investigations/meta-is-earning-fortune-deluge-fraudulent-ads-documents-show-2025-11-06/">
    <title>Meta is earning a fortune on a deluge of fraudulent ads, documents show | Reuters</title>
    <dc:date>2025-11-07T17:42:19+00:00</dc:date>
    <link>https://www.reuters.com/investigations/meta-is-earning-fortune-deluge-fraudulent-ads-documents-show-2025-11-06/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Meta projected 10% of its 2024 revenue would come from ads for scams and banned goods, documents seen by Reuters show. And the social media giant internally estimates that its platforms show users 15 billion scam ads a day. Among its responses to suspected rogue marketers: charging them a premium for ads – and issuing reports on ’Scammiest Scammers.’"]]></description>
<dc:subject>meta facebook scams instagram 2025 markzuckerberg profit profits revenue socialmedia ads advertising scamads</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e19c79d103f6/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Ziro0ecvWYY">
    <title>NYX’s “diversity” campaign hiding L’Oréal’s scandals? - YouTube</title>
    <dc:date>2025-10-24T20:11:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Ziro0ecvWYY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NYX is showcasing Dutch influencers of colour in a new “diversity” campaign. But behind the inclusive branding lies L’Oréal’s troubling record: fascist roots, investors tied to mass infant deaths, and business links to Israel’s occupation. Should companies with this history profit from stories of racism and exclusion?"]]></description>
<dc:subject>nyx l'oréal marketing nestlé 2025 israel humanrights fascism palestine dispossession racism exclusion switzerland health environment extraction colonialism colonization oppression exploitation diversitywashing diversity corporations corporatism ads advertising abuse scandals</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.bloodinthemachine.com/p/ai-profiteering-is-now-indistinguishable">
    <title>AI profiteering is now indistinguishable from trolling</title>
    <dc:date>2025-10-11T06:38:44+00:00</dc:date>
    <link>https://www.bloodinthemachine.com/p/ai-profiteering-is-now-indistinguishable</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Just so we’re clear about this: A recent college graduate whose only work experience was a stint at an infamously fraudulent crypto exchange and a job at OpenAI from which he was fired for leaking confidential information for personal gain, has maneuvered his way into managing $1.5 billion because he published a manifesto about end times AI and declared himself as a great knower of how this speculative scenario will play out. I do not know Aschenbrenner, I have never interviewed him, but if it turned out he didn’t believe a single word of that manifesto, I would not be surprised in the slightest. People who sincerely believe an apocalypse is coming do not tend to start hedge funds. Of course, Aschenbrenner may be a true believer in AI—as-Skynet, he may be a talented grifter who is skillfully exploiting those who lap up his pseudoscientific forecasting, or he may simply be trolling everyone into oblivion.

What matters is it doesn’t really matter. Trolling is now all but indistinguishable from AI profiteering. It may be one and the same. One way to look at the entire AI doom phenomenon, especially among the many executives and leaders in Silicon Valley who do not fully believe it but find it useful, is as an elaborate bit of trolling to get consumers and enterprise clients to buy their products. “This technology could kill us all, but use it to automate your email job while you can.”"]]></description>
<dc:subject>brianmerchant 2025 ai aihype aibubble ads advertising hype attention openai skynet sambankman-fried ftx sharongoldman miramurati samaltman chatgpt aigoldrush goldrush sanfrancisco jasparcarmichael-jack trolling investment speculation bubbles aiboom sandhillroad venturecapital finance agi artificialgeneralintelligence luddites resistance luddism neoluddism neoluddites vc</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=3uLpICsNTV4">
    <title>&quot;Enshittification&quot;: Cory Doctorow on Why Big Tech Sucks, Keeps Getting Worse &amp; What to Do About It - YouTube</title>
    <dc:date>2025-10-11T04:14:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3uLpICsNTV4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Writer Cory Doctorow returns to Democracy Now!_to discuss his new book "Enshittification," which explores the term he coined in 2022 to describe how online platforms like Facebook degrade over time as companies seek to maximize profit at the expense of their users, and it has since become shorthand for describing a pervasive sense of dropping standards across various aspects of modern life."

[transcript:
https://www.democracynow.org/2025/10/10/cory_doctorow ]]]></description>
<dc:subject>corydoctorow 2025 internet web online donaldtrump elonmusk markzuckerberg facebook google twitter algorithms business profits mergers acquisitions technology search socialmedia communication ads advertising 2022 policy politics corruption growth experience regulation deregulation labor workers discipline platforms amazon tiktok larryellison portability bluesky mastodon enshittification maga siliconvalley jeffbezos sundarpichai apple timcook shouzichew nlrb</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9316fc45f6b5/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=yHMGb-dLfOU&amp;t=1s">
    <title>Fighting San Francisco's Manhattanization with Tim Redmond - YouTube</title>
    <dc:date>2025-10-08T20:56:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=yHMGb-dLfOU&amp;t=1s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to another episode of the Doomloop Dispatch, the news show covering the worst parts of the San Francisco Bay Area. In this episode, Kevin and D Scott talk to Tim Redmond, editor of the 48 Hills and former executive editor of the Bay Guardian. We get into Tim’s reporting on the recall of San Francisco supervisor Joel Engardio and his thoughts on Engardio’s replacement. We also talk about how real estate speculation destroyed the city and the state of local legacy media. Really good stuff!

Sources

All of Tim’s stories in 48Hills
https://48hills.org/author/tim/

Here’s what Scott Wiener has done
https://48hills.org/2025/09/heres-what-scott-wiener-has-done/

The Engardio recall, Yimby urbanist elitism, and the next step in SF politics
https://48hills.org/2025/09/the-engardio-recall-yimby-urbanist-elitism-and-the-next-step-in-sf-politics/

The Engardio recall and the failure of conservative politics in SF
https://48hills.org/2025/09/the-engardio-recall-and-the-failure-of-conservative-politics-in-sf/

Strange (and maybe inappropriate) actions at the Planning Commission …
https://48hills.org/2025/09/strange-and-maybe-inappropriate-actions-at-the-planning-commission/

Bullshit opinion piece on Family Zoning plan
https://sfstandard.com/opinion/2025/09/21/small-business-lurie-upzoning-sharky-laguana-ben-bleiman/ "]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=P1EKQidRooc">
    <title>The Ensh*ttification of Everything - YouTube</title>
    <dc:date>2025-10-08T19:14:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=P1EKQidRooc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The internet is getting shittier. Hell, the whole world is getting shittier. The thing is, it’s no accident—it’s by design. The tech giants who run the internet have figured out how to make bank off of making our everyday experience with the internet worse, and this process is bleeding over into the physical world. This process is called “enshittification”, a term coined by the massively influential tech writer Cory Doctorow. In this episode, Adam sits with Cory to discuss where everything went so wrong as well as Cory’s new book, Enshittification: Why Everything Suddenly Got Worse and What to Do About It."]]></description>
<dc:subject>corydoctorow adamconover enshittification facebook meta technology bigtech google android search ai artificialintelligence labor unions internet web online eff drm law legal tariffs us donladtrump sideloading firefox mozilla ads advertising instagram johngruber apple eu interoperability platforms smarthphones economics behavior security data surveillance capitalism shoshanazuboff privacy markets china vpn appstore icloud elonmusk tesla airdrop icc microsoft foreignpolicy policy bradstone spying surveillancecapitalism edwardsnowden jailbreaking microsoftoffice canada regulation deregulation regulatorycapture competition mergers rohitchopra jonathankanter antitrust sarawynn-williams amazon pricing prices monopolies edzitron righttoexit bluesky mastodon fediverse numberporting repair righttorepair web2.0 thatcherism access accessibility netflix video humility disabilities disability ip intellectualproperty workers processknowledge danwang manufacturing factories vulgarthatcherism pessimism optimism fatalism hope</dc:subject>
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<item rdf:about="https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics">
    <title>How luxury brands engineer desire with behavioural economics | Psyche Ideas</title>
    <dc:date>2025-10-03T16:32:15+00:00</dc:date>
    <link>https://psyche.co/ideas/how-luxury-brands-engineer-desire-with-behavioural-economics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From scarcity to market architecture, luxury fashion is manipulating our tastes. But a vintage countermovement has begun"]]></description>
<dc:subject>luxury economics manipulation vintage 2025 charlottewren architecture fashion capitalism behavior scarcity psychology consumerism consumption society louisvuitton christiandior fendi givenchy celine gucci sybmolism chanel zara h&amp;m versace escada plannedobsolescence authenticity individuality quality self-expression beauty aesthetics myth myths online marketing hype ads advertising exclusivity hermès tommyhilfiger danathomas china handmade dior</dc:subject>
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<item rdf:about="https://posterhouse.org/exhibition/the-future-was-then-the-changing-face-of-fascist-italy/">
    <title>The Future Was Then: The Changing Face of Fascist Italy | Poster House</title>
    <dc:date>2025-09-30T18:37:12+00:00</dc:date>
    <link>https://posterhouse.org/exhibition/the-future-was-then-the-changing-face-of-fascist-italy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a fascist movement inspired by art, how does the fascist government influence the artists living in its grasp? This exhibition explores how Benito Mussolini’s government created a broad-reaching culture that grew with and into the Futurist movement to claw into advertising, propaganda, and the very heart of the nation he commanded. 

Featuring 75 pieces from the world-renowned Fondazione Massimo e Sonia Cirulli in Bologna, Italy, this expansive exhibition chronicles the length of Mussolini’s regime, focusing on the often blurred line between propaganda and art.

B.A. Van Sise FRGS is a photographic artist, author, and curator, primarily focused on the intersection between language and the visual form. Previously a journalist for the Village Voice and Newsday, he is also the author of Children of Grass: A Portrait of American Poetry with Mary-Louise Parker, Invited to Life: After the Holocaust, and On the National Language: the Poetry of America’s Endangered Tongues with DeLanna Studi and Crisosto Apache. His work has been featured in major solo exhibitions at the Center for Creative Photography, the Peabody Essex Museum, the Woody Guthrie Center, and the Skirball Cultural Center, and in group exhibitions at the Centro Millepiani in Rome and Scuola Internazionale di Grafica in Venice, and in Moscow at both the Jewish Museum and Tolerance Center and United States Embassy. Italian-born, he splits his time between New York City and Rome. "


[via:
https://kottke.org/25/09/the-future-was-then-an-exhibition-of-fascist-italian-posters ]]]></description>
<dc:subject>fascistaesthetics aesthetics posters 2025 exhibits exhibitions mussolini benitomussolini fascism italia italy italianfuturism futurism fondazionemassimoesoniacirulli propaganda design art bavansise ads advertising italianfuturists</dc:subject>
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<item rdf:about="https://davedye.com/2023/04/12/another-post-on-posters/">
    <title>ANOTHER POST ON POSTERS. | STUFF FROM THE LOFT.</title>
    <dc:date>2025-07-28T22:51:59+00:00</dc:date>
    <link>https://davedye.com/2023/04/12/another-post-on-posters/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Clever-clogs, San Franciscan adman Howard Gossage once said that advertising had a responsibility to society not to pollute our environment.
Particularly outdoor, as everybody was exposed to it.
I’m sure everyone in marketing at the time nodded sagely in agreement, then got back to polluting.
After all, job one is shifting product.
Creating a more pleasant trip to the shops is an indulgence.
Isn’t it?
If you believe dull, ugly ads shift more product.
Do they get you to buy?
Are they easier to remember?
Of course not.
So why are our streets filled with them?
Maybe it’s inappropriate to be playful and fun when times are tough?
Times like these call for ‘hard working ads’!
Every Creative will have been told, solemnly, ‘Now this one needs to be a hard-working’.
(Like you’re just fucking about the rest of the time to amuse yourself.)
Nope, this time, they actually need to sell some shit, so keep it straight, don’t go all creative on us.
Ok, so what is the information we need to deliver without diluting it with our fancy creativity?
The magic bullet?
Ah! ‘Our product is…(wait for it)…good’.
Great.
It’s not to say that every message needs to be put through some kind of creative filter.
Let’s say the BMW i3 goes for 300 miles on a single charge – you probably don’t want to veer too far from that set of words.
But if the information was, what the headline became ‘As promised, the all-electric BMW i3’ you should veer.
Or flee even.
Not to keep yourself amused but to generate interest from others.
Simply introducing a product or is saying it’s good isn’t hard-working.
It’s dull and unbelievable.
Like saying your son is so handsome or you’re a great golfer.
There has never been more products available as there are today.
And there’s never been fewer differences between them.
Take cars, I’m in the process of buying one – asking dealers what the difference between model x and model y is like debating a politician.
“What does the extra £5k get me?”
“It gets you the ABC Model.”
“I know, but why’s it better than the CBA Model?”
“It’s the ABC Model…it’s superior.”
“In what ways?”
“Multiple.’’
“What specifically?”
“All round, it’s a superior car…it’s the ABC!”
Oh FFS!
That’s a big purchase, imagine asking someone at Sainsbury’s what the difference is between soaps – “The one on the left has the word ‘Pears’ printed on, whereas …”
But you still have to choose one soap over the others.
If you can’t differentiate them by what they do, you are forced to differentiate them by how they present themselves.
The name, packaging, marketing and so on.
Never was this more true than in the lager category.
BMP used to regularly launch new beers, beforehand they’d conduct some blind taste tests, to see how their new brew fared against the competition.
They concluded that ‘beer drinkers drank the advertising’ because they couldn’t taste the difference between one pint and another.

Today, most categories today are like the lager category -very few tangible differences between brands.
So what you say is less important than how you say it.
Simply saying your lager is awesome won’t do it.
You have to be creative.
You have to conjure up a personality to separate yourself from your competition.
What kind of personality appealing?
Well, no one’s looking to be bored – so don’t be dull.
I’m sure I’m not alone in finding bullshit off-putting – so be honest.
Given the choice, I prefer self-deprecation to self-aggrandising.
I’d guess people prefer buying from intelligent companies rather than dumb ones.
I like those who make me smile, laugh even.
I’m more likely to look at something attractive than ugly, hence the word ‘attractive’ I guess.

Oatly is a good example.
I like them.
What’s the difference between them and other Oat Milks?
No idea.
But I like the cut of their jib.
They don’t take themselves too seriously, occasionally make me smile, they just seem cool.
Next time I’m in Tesco’s, staring at Oatly and the 30p cheaper oatmilk next to it in the fridge, I’ll probably go Oatly.
30p!
Those 30p’s can really start adding up back at Oatly Towers in Malmö.
Would I feel that way if Oatly said stuff like this…"

[several examples, usually in pairs for comparison]

"Here’s Howie again – ‘The buying of time or space is not taking out of a hunting licence on someone else’s private preserve, but it is the renting of a stage to perform.’
We can’t make people engage with our ads, but we can try to engage them.
If we fill our streets with dull, shouty creative work, it devalues those spaces.
Maybe there’s a tipping point – when people assume there won’t be anything interesting on those posters up ahead –  so don’t turn their heads.
On that head movement rests the success of the outdoor industry.
Maybe we’d engage more people if we gave them more engaging content?
A reason to look.
Maybe even make them smile.
Maybe Mr Gossage was right; we shouldn’t pollute our streets.
Maybe it’s not only morally right, maybe it’s financially right too."]]></description>
<dc:subject>davedye howardgossage ads advertising environment environmentalism marketing creativity fashion levis theeconomist volvo richseigal davidabbott chiatday humanity humanism posters</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/Howard_Gossage">
    <title>Howard Gossage - Wikipedia</title>
    <dc:date>2025-07-28T22:49:03+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Howard_Gossage</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Howard Luck Gossage (1917–1969) was an American advertising innovator and iconoclast during the "Mad Men" era,[1] frequently referred to as "The Socrates of San Francisco".[2][3]

Out of a converted firehouse nestled in San Francisco's Barbary Shore neighborhood, Gossage created the headquarters of his advertising agency (Freeman, Mander & Gossage). The building would become a salon where many of the era's influential thinkers congregated,[1] from John Steinbeck to Buckminster Fuller, Tom Wolfe to Stan Freberg.[4][5]

A non-conformist who railed against the norms of so-called scientific advertising in his day, Gossage introduced several innovative techniques to the advertising practice that would only become appreciated decades after his death.[1]

Gossage is credited with discovering the media theorist Marshall McLuhan, introducing him to media and corporate leaders thereby providing McLuhan his entry into mainstream renown.[6] More widely, Gossage was involved in some of the first environmental campaigning in the USA with the Sierra Club, and in the establishment of Friends of the Earth through his friendship with David Brower.[7]

Co-founder at age 36 of the advertising agency Wiener & Gossage, Howard Gossage is listed by Advertising Age at number 23 of its 100 advertising people of the 20th century.[8] AdAge.com calls Gossage a "copywriter who influenced ad-makers worldwide."[9]

Today when advertising is disliked and avoided by most people, Howard showed that commercial communication worked best when it was fun, irreverent and entertaining, using humour, intrigue and sometimes outrage to win his audience's attention, affection - and custom. "]]></description>
<dc:subject>howardgassage advertising marshallmcluhan history ads marketing sanfrancisco sierraclub environment environmentalism davidbrower friendsoftheearth johnsteinbeck buckminsterfuller tomwolfe stanfreberg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.thenation.com/article/activism/globalization-trade-climate-progressivism/">
    <title>Jerry Mander Was the Groundbreaking Activism-Adman | The Nation</title>
    <dc:date>2025-07-28T08:09:33+00:00</dc:date>
    <link>https://www.thenation.com/article/activism/globalization-trade-climate-progressivism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jerry Mander died recently in Hawaii after a long illness, according to his wife, the filmmaker Koohan Paik-Mander.

Jerry was a groundbreaking activist-adman, a key figure in the anti-globalization movement, a trenchant critic of technology and capitalism, and a valued contributor to this magazine.

In 1966, the San Francisco advertising executive Howard Gossage invited Jerry to join his firm. The two of them created an ad that helped stop the US government from building two giant dams that would flood the Grand Canyon. The Bureau of Reclamation had claimed that the public favored the plan because small boats would then be able to float high up in the canyon, allowing visitors to touch its beautiful walls. The headline of Jerry’s full-page ad asked: “Should We Also Flood the Sistine Chapel, so Tourists Can Get Nearer to the Ceiling?” 

Jerry’s cheekiness resonated with Nation editor Victor Navasky, who enlisted him as a frequent contributor on Indigenous justice, media reform, militarization, and overweening corporate power.

After Howard Gossage’s death in 1969, Jerry opened his own agency, dedicated to advocacy advertising in the public interest. His clients included Earth Island Institute, Planned Parenthood, Greenpeace, and others. The Wall Street Journal called him “the Ralph Nader of advertising.” It was during this period that Jerry teamed up with Stewart Brand and others to create the iconic Whole Earth Catalog, During the 1970s Jerry became a frequent contributor to The Nation, on a host of issues, including corporate power run amok.

Jerry wrote several books, including Four Arguments for the Elimination of Television (Morrow) and In the Absence of the Sacred (Sierra Club Books). His conviction that “technology will not save us” made him a dissident voice during the meteoric rise of the Bay Area tech industry. His 1996 cover story for The Nation, “The Dark Side of Globalization: What the Media Are Missing,” criticized the new global economic order and its implications.

Jerry and friends called themselves the “International Forum on Globalization,” or IFG. Writing in The Nation, Naomi Klein called the IFG “the brain trust of the [anti-globalization] movement.”

All of the IFG’s warnings have come to pass. US jobs and manufacturing have disappeared (with the exception of the multitrillion-dollar arms industry) as corporations have outsourced to Asia and elsewhere. Environmental, labor, and safety standards have dwindled, even as the world faces unprecedented catastrophes of climate change, economic inequity, pandemics, and the Sixth Extinction. Authoritarianism has emerged in backlash, ratcheted up by new technologies.

Jerry would not have despaired. According to John Cavanagh and Maude Barlow, “Jerry’s charge to us: Don’t give up because you lost the first round. Educate movements and the public to fight back. He challenged us to stage teach-ins that would lead into massive protests on the streets in the cities where the World Bank, IMF, and WTO were gathering and corporate leaders. None of the 40–50 of us who became the core of the International Forum on Globalization thought this would work. But Jerry convinced us to try, and he marshaled the resources to make a dozen of them happen.”  

Of Jerry’s time on this planet, the author Stephanie Mills said it best: “The dear Earth could ask no more of anyone. It was a noble life’s work.”"

[See also:
https://en.wikipedia.org/wiki/Jerry_Mander ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=voSv87wg8oM">
    <title>#49 “I’m more about people than more about brands” – Allen Farmelo, Founder of Beyond the Dial - YouTube</title>
    <dc:date>2025-07-25T08:23:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=voSv87wg8oM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beyond the Dial started off as a podcast that gave Allen a creative outlet to deep dive and discuss watches in a way that working in the watch publication world never did. When COVID hit, his brand grew and he decided to establish his writing, taking a unique perspective by looking at watches through different academic disciplines. In this episode we discuss how Allen and his team keep their journalism authentic and the perception consumers have on watch manufacturing."

[See also:

"#78 “When I put it on I feel the message was received ” – Allen Farmelo, Founder of Beyond the Dial"
https://www.youtube.com/watch?v=dkQ2qZT26vI

"In part 2 of our interview with Allen, we discuss how Andy Warhol inspired him, the American watch scene, and how pocket watches and rail road watches became collectible items."]]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/">
    <title>Podcast Insights E17 - The Aesthetic Revolution (Will Be Beautiful) - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:13:12+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What started as a cute aphorism has grown into a socio-economic theory. Allen works his way through the assumptions that make up this theory, drawing on personal memory, Marxist and Anarchist failures, Pan-Indigenous Environmentalism, and, of course, horological love. The goal? Nothing short of transforming Late Capitalism through our built-in human love of Beauty."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e17-the-aesthetic-revolution-will-be-beautiful/id1472733566?i=1000474649630
https://open.spotify.com/episode/350bhPLlRJLgrDipWJzcVI ]]]></description>
<dc:subject>2020 allenfarmelo watches beauty aesthetics latecapitalism theory economics marxism anarchism environmentalism ianos jasonheaton autodromo journalism shopping consumption consumerism gregorybateson culture indigeneity johnmohawk robertdenton orenlyons barrywhite activism nature sevengenerations conservation waste disposability durability nafta offshoring standardissue timelessness conservatism plannedobsolescence indigenous filson clothing hipsters making makers quality bauhaus craftsmanship craft privilege digitalrevolution green sustainability renewables ethos agenda inequality regionalism decentralization carbonfootprint materials geography ecosystems mikhailbakunin mutualaid cooperatiion karlmarx dictatorship schismogenesis state tradeunions education revolution friedrichengels labor us richardnixon deregulation ideology industry hiddencurriculum hedonism ease pleasure senses ethics vintage science social ecology philosophy politics morality consciousconsumerism mainstream joy religion pleasureprinciple c</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/">
    <title>Podcast Insights E16 - Spiritual Materialism: How Watches Take On Significance and Meaning - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:12:10+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the surface, owning a watch isn’t a complex thing. Dig a little deeper into our motives for owning any given watch, and things get complicated fast. Allen explores the mental gymnastics involved in picking out your next watch, and he explores everything from the study of human motives, to why so many watch nerds hate on Invictas, and more."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e16-spiritual-materialism-how-watches-take/id1472733566?i=1000472834936
https://open.spotify.com/episode/3ZyTLTvJ8JfY9J4LJc3Dwu ]]]></description>
<dc:subject>2020 allenfarmelo watches materialism spiritualmaterialism literarytheory psychology philosophy justification symbols symbolism human behavior aristotle rhetoric motivation motives act scene agent agency purpose journalism ads advertising meaning meaningmaking attention socialmedia social aesthetics community approval introspection clans belonging instagram culturalcapital tastemakers personalbrands productengagement watchcommunity watchworld howwethink relationships ownership identity kennethburke innerlife rationality irrationality projection understanding difference reflection reasoning logic individuals individualism generalization nihilism marxism generalizations hedonism skepticism reality analysis panerai nomos italy italia pleasure thinking surfing hypotheticals perception self learning howwelearn presentationofself humans vulnerability invicta explantion watchcanon usthem sameness differentiation significance decisionmaking snobbery snobs absolutism watchsnobs judgement standards capitalism consumeri</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:c6c20ec34a79/</dc:identifier>
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</item>
<item rdf:about="https://www.newyorker.com/culture/critics-notebook/what-do-commercials-about-ai-really-promise">
    <title>What Do Commercials About A.I. Really Promise? | The New Yorker</title>
    <dc:date>2025-07-19T01:15:32+00:00</dc:date>
    <link>https://www.newyorker.com/culture/critics-notebook/what-do-commercials-about-ai-really-promise</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If human workers don’t have to read, write, or even think, it’s unclear what’s left for them to do."]]></description>
<dc:subject>vinsoncunningham 2025 ai artificialintelligence ads advertising technology work working writing howwewrite reading howweread cognition purpose labor automation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1d38116554c8/</dc:identifier>
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</item>
<item rdf:about="https://sf.gazetteer.co/the-banality-of-palantirs-evil-airport-ad">
    <title>The banality of Palantir’s evil airport ad</title>
    <dc:date>2025-07-13T22:25:12+00:00</dc:date>
    <link>https://sf.gazetteer.co/the-banality-of-palantirs-evil-airport-ad</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why is a company that makes millions tracking down immigrants for ICE advertising at SFO?"

[archived:
https://archive.ph/7mrud ]

"Palantir was born in the Bay Area in 2003, so it’s not a surprise that the AI data analysis firm would advertise here like so many other firms whose indecipherable billboards litter our skyline.

But its new installation at San Francisco International Airport is so much more than just an ad: it’s a winking, cynical tribute to the hellscape we currently occupy, and a bland admission that, yes, they’re the baddies — but, you know, in a cool way. 

This week, a photo of the ad went viral on Reddit. At first, it seems entirely banal: Cast in black and white, the wall-sized screen reads “Palantir Technologies Est: 2003 USA,” with a tagline that shouts “SOFTWARE THAT DOMINATES.” 

Much of the reaction on Reddit was negative, not just because of the ad’s gargantuan scale or aggressive messaging, but because of the heinous lore of Palantir itself. The company’s rep is so bad that, frankly, it must know what it’s doing by posting such a monolithic ad in SFO where tourists and immigrants from around the world fly in every day.

Is Palantir’s intention ragebait and virality, or to whitewash its profitable flouting of civil rights with bland reminders that it occupies a central position in the techno-zeitgeist? I’m really not sure, and that scares me more than a little. 

Palantir — like the first Trump administration — was launched in part by the billionaire Peter Thiel, and it has become one of the most controversial tech companies in America because of its partnerships with ICE and the U.S. military. As has been widely reported, the company profits off the killing of Palestinians and mass deportations of immigrants under the Trump administration. 

Thiel co-founded PayPal and over the years evolved into a kind of right-wing bag man, funding a morass of reactionary groups and destroying press outlets, all while declaring he does not believe in democracy and building the blueprint for a techno-capitalist syndicate to run America (think feudalism, but more Waymos). 

He’s also worked to mentor Vice President J.D. Vance and “Dark Enlightenment” thinker Curtis Yarvin, whom he foisted on the mainstream. For this ilk, “progressive” isn’t just a slur, it’s a pathway to literal extinction. To these self-styled John Galts, trust in political institutions is naiveté verging on idiocy. And Thiel’s ideology of “superior persons” leading society is not just a personal belief, it’s a business plan that includes marketing via a dystopian ad placement in the airport of America’s “wokest” city. For the widely reported chess “prodigy,” this is the equivalent of taking the board and smashing it with a sledgehammer. Apparently, we’re supposed to see this as another step toward revolution (and the tech singularity). 
 
Naturally, Palantir doesn’t divulge its terrible politics in its marketing materials; on its site, the company states that “our software powers real-time, AI-driven decisions in critical government and commercial enterprises in the West, from the factory floors to the front lines.” (Is your dog’s head turning from all those whistles?) In addition to receiving tens of millions from ICE and nearly $800 million from the Department of Defense, Palantir contracts with juggernauts like Morgan Stanley and AT&T. With skyrocketing revenue and rising market valuation, Palantir is officially bigger than Disney.

In that context, the ad feels less like marketing and more like a taunt. Palantir doesn’t need our money. It wants our complicity, and will mock us along the way. The slogan cares little about value statements like “Think Different” or “Just Do It.” It is “software that dominates,” regardless of what you want it to do. At Harvey Milk Terminal, it has found a home to burrow into our heads, living rent-free while we struggle to figure out the path ahead. 

Palantir’s ad has nothing to sell but a reputation, and it happens to read like a threat."]]></description>
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    <title>La Base Comanche 2x36 | Ser cruel está de moda - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hoy en La Base Comanche Laura Arroyo, Pablo Hurtado y Raúl Sánchez Cedillo hablan de la crueldad como lenguaje que une las politicas y discursos de Trump, Milei, Bukele, Ayuso, etc. ¿Por qué ser cruel se ha puesto de moda? ¿De qué caldo de cultivo bebe esta crueldad como paradigma? Con la participación de Luci Cavallero, activista feminista argentina."]]></description>
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    <title>The Dark Side of WhatsApp: What They Don't Want You To Know - YouTube</title>
    <dc:date>2025-07-05T03:11:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vgVI5Ba9Trc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WhatsApp has a dark side that most users don't know about. From extensive metadata collection to incoming advertising, WhatsApp isn't the 'private' messenger they might lead you to believe. In this video, I'll break down what Meta is really doing with your data and show you better alternatives that actually protect your privacy. Techlore empowers individuals with practical digital privacy knowledge, security tools, and advocacy resources. Discover how to protect your online data and regain control of your digital identity."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Jg_F19hYoaE">
    <title>The Internet Con - YouTube</title>
    <dc:date>2025-07-02T16:07:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Jg_F19hYoaE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author and activist Cory Doctorow joins us to discuss The Internet Con, his call to reclaim internet control from Big Tech. From locked-down platforms to the illusion of choice online, Cory lays out how interoperability can break corporate monopolies-and why reshaping the digital landscape starts with empowering users to leave, remix, and reimagine the internet on their own terms.

Grab your copy of The Internet Con: https://www.versobooks.com/products/3035-the-internet-con

This conversation was recorded on 10/31/2023. Watch the full video recording at: https://archive.org/details/the-internet-con

<blockquote>Join us for a virtual book talk with author Cory Doctorow about THE INTERNET CON, the disassembly manual we need to take back our internet.

Resources shared:

Chat https://ia801705.us.archive.org/7/items/the-internet-con/The%20Internet%20Con.txt
The Internet Con https://www.versobooks.com/products/3035-the-internet-con

About The Internet Con
When the tech platforms promised a future of "connection," they were lying. They said their "walled gardens" would keep us safe, but those were prison walls.

The platforms locked us into their systems and made us easy pickings, ripe for extraction. Twitter, Facebook and other Big Tech platforms hard to leave by design. They hold hostage the people we love, the communities that matter to us, the audiences and customers we rely on. The impossibility of staying connected to these people after you delete your account has nothing to do with technological limitations: it's a business strategy in service to commodifying your personal life and relationships.

We can - we must - dismantle the tech platforms. In The Internet Con, Cory Doctorow explains how to seize the means of computation, by forcing Silicon Valley to do the thing it fears most: interoperate. Interoperability will tear down the walls between technologies, allowing users leave platforms, remix their media, and reconfigure their devices without corporate permission.

Interoperability is the only route to the rapid and enduring annihilation of the platforms. The Internet Con is the disassembly manual we need to take back our internet.</blockquote>

Check out all of the Future Knowledge episodes at https://archive.org/details/future-knowledge "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Sf3wEg9tsCY">
    <title>Can You Believe Your Own Eyes? Not With A.I. | Op-Docs - YouTube</title>
    <dc:date>2025-06-25T02:14:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Sf3wEg9tsCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Film and text by Maximilien Van Aertryck and Axel Danielson:
The camera is a tool — but to do what? Images shape our daily life, yet we rarely question how they’re made or why.

As filmmakers, we’re fascinated by how humans use cameras and by the immense influence images have. For 15 years, we’ve investigated the history of the camera, and we’ve turned the material we gathered into a feature documentary, chronicling how people behind the camera went from capturing the image of a backyard to today’s multibillion-dollar content industry.

The video above, “Death of a Fantastic Machine,” is a shorter version of that documentary, and here we focus on something that emerged as the key factor: how economic forces have shaped what we see, from the earliest photography to the algorithms and A.I. of today.

Some say there are an estimated 45 billion cameras on earth today, giving humankind access to perspectives far beyond our own reach. But the very tool that could help us understand the world is increasingly used to distort it. With A.I., this distortion has reached a new level. When any photo or video can be manufactured, what happens to the camera’s credibility? Can we still trust what we see?"

[via:
https://kottke.org/25/06/death-of-a-fantastic-machine

"Death of a Fantastic Machine (aka the camera) is a short documentary on “what happens when humanity’s infatuation with itself and an untethered free market meet 45 billion cameras”…and now AI. It’s about how — since nearly the invention of the camera — photos, films, and videos have been used to lie & mislead, a trend that AI is poised to turbo-charge. Not gonna sugar-coat it: this video made me want to throw my phone in the ocean, destroy my TV, and log off the internet never to return. Oof.

The short is adapted from a feature-length documentary directed by Maximilien Van Aertryck and Axel Danielson called And the King Said, What a Fantastic Machine [https://www.bullittfilm.dk/fantastic-machine ] (trailer [https://www.youtube.com/watch?v=z7TcmTeuCCo ]). Van Aertryck & Danielson made one of my all-time favorite short films ever, Ten Meter Tower [https://kottke.org/17/02/ten-meter-tower ] (seriously, you should watch this, it’s fantastic…then you can throw your phone in the ocean).

P.S. I hate the title the NY Times gave this video: “Can You Believe Your Own Eyes? Not With A.I.” That is not even what 99% of the video is about and captures none of what’s interesting or thought-provoking about it. However, it is a great illustration of one of the filmmakers’ main points: how the media uses simplifying fear (in this case, the AI bogeyman 🤖👻) to capture eyeballs instead of trying to engage with complexities. “Death of a Fantastic Machine” arouses curiosity just fine by itself."]]]></description>
<dc:subject>film photography perception media ai artificialintelligence maximilienvanaertryck axeldanielson documentary cameras filmmaking video fear tv television attention addiction psychology storytelling narrative tedturner capitalism lumièrebrothers georgesméliès radio fabrication staging framing power ads advertising reality escapism fiction propaganda entertainment news cnn sensationalism violence massmedia screens technology smartphones socialmedia manipulation internet online web youtube influencers influence fearmongering foxnews howwethink neuroscience reedhasting netflix algorithms channel5 andrewcallaghan division polarization business faceboook meta</dc:subject>
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<item rdf:about="https://www.robinsloan.com/lab/platform-reality/">
    <title>Platform reality</title>
    <dc:date>2025-06-22T01:52:09+00:00</dc:date>
    <link>https://www.robinsloan.com/lab/platform-reality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Back in May, Ted Gioia wrote about the wave of corporations and celebrities [www.honest-broker.com/p/substack-has-changed-in-the-last ] joining Substack. Longtime internet readers will note the clear echo of 2000s blog triumphalism and/or 2010s Twitter energy, which is to say: enjoy it while it lasts.

I think it’s a notable that Ted’s post, though it’s titled Substack Has Changed in the Last 30 Days [https://www.honest-broker.com/p/substack-has-changed-in-the-last ], is really about how the outside world’s consideration of Substack — the opportunities therein — has changed. But Substack has also changed, and Substack will continue to change, and these changes have been, and will be, perfectly platform-ish.

Expect enclosure; expect a few big winners; expect advertising, with all the attention-hacking that will demand. Expect, also, that writers will continue to mold their work to fit Substack’s particular ecology, rather than “merely” use the tools to pursue their independent visions and ambitions. We learned this about platforms a long time ago: following the old newspaper schematic, they aren’t the printing presses, but rather the assignment editors.

I’m conscious of the fact that it is, in some sense, stupid of me not to be on Substack. At the very least, I could be sending my newsletter for free, instead of paying a hundred bucks a month! Yet I suppose I think it’s the stupid choices that are the important ones. And I suppose I think the standard for art is that it doesn’t just play the game, but invents it. On an internet crowded with creators eager to obey each platform’s demands, follow its Best Practices (which harden into mandatory genres: quick-setting concrete), there is, I believe, an incandescence to stubborn specificity.

For the record, my long-ago job was explaining such Best Practices to corporations and celebrities! (See: 2010s Twitter energy.)

There’s one platform for which none of this is true, and that’s the web platform, because it offers the grain of a medium — book, movie, pop song — rather than the seduction of an algorithmic ecology. The web platform makes no demands because it offers nothing beyond the opportunity to do good work. Certainly it offers no attention — that, you have to find on your own. Here is your printing press.

Like I said in my post on home-cooked apps [https://www.robinsloan.com/notes/home-cooked-app/ ]:

<blockquote>There will be no sudden redesign, no flood of ads, no pivot to chase a userbase inscrutable to us. It might go away at some point, but that will be our decision. What is this feeling? Independence? Security? Sovereignty?</blockquote>

P.S. Ted’s recent newsletter style is a key example of 2020s ventilated prose, an unmissable textual trend. I understand and appreciate writers using the tools that work; at the same time, man, is this really the end of the paragraph? The twilight of the compound thought? Do not go quietly, etc!"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=pTOPOinAy_I">
    <title>The Truth About Burning Waymos - YouTube</title>
    <dc:date>2025-06-13T18:08:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=pTOPOinAy_I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over the past week tech people, right wing figures and the media have been freaking out about Waymos being set on fire in downtown Los Angeles. The Waymos were burned during last weekend’s protests against ICE. 

A lot of people online seem deeply confused about the burnings of the cars. So, I'm going to break down why there's so much anti-Waymo sentiment, the rise of surveillance technology at protests, and how it all affects free speech."]]></description>
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<item rdf:about="https://newrepublic.com/article/188313/artifical-intelligence-scams-propaganda-deceit">
    <title>AI Scams Are the Point | The New Republic</title>
    <dc:date>2025-05-18T04:18:21+00:00</dc:date>
    <link>https://newrepublic.com/article/188313/artifical-intelligence-scams-propaganda-deceit</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>edwardongewsojr ai artificialintelligence fakes scams lies hype propaganda advertising</dc:subject>
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<item rdf:about="https://thetechbubble.substack.com/p/ai-slavery-surveillance-and-capitalism">
    <title>AI, slavery, surveillance, and capitalism</title>
    <dc:date>2025-05-18T04:00:36+00:00</dc:date>
    <link>https://thetechbubble.substack.com/p/ai-slavery-surveillance-and-capitalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It matters, then, what we think of Silicon Valley and its operations because that will, in turn, structure the nature of the response. Is Silicon Valley to be expropriated or exulted? Will we subject it to a controlled demolition, or should society be remade in its image? Are we satisfied with this nexus of capital, technology, and power, or are we interested in another mode of technological development?

Small wonder then that, despite their best efforts, the past few years have seen many critics and sycophants start to sound like one another. Capitalism, they insist, is coming to an end because our powerful digital technologies are unraveling the mode of production that has come to dominate Earth these past few centuries. Surveillance capitalism, techno-feudalism, and techno-authoritarianism are dialects that share the same mother tongue: an artificial language incapable of accurately describing our reality. The longer we cling to them, the harder we will find it to accurately assess what exactly we take issue with and what to do about it.

The most well-known of these theories comes to us from Harvard Business School professor Shoshana Zuboff's 2018 brick of a book (and title), The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power. In it, she insists capitalists have leveraged digital technologies to expand computational resources, develop data analytics tools, and—most importantly—generate new digital services. In the beginning, Zuboff tells us, there was Google's behavioral value reinvestment cycle. User activities like search queries generated data that was analyzed to improve digital experiences or offer new ones. This drew more users, yielded more data, and so grew the Edenic digital paradise. Google needed to make money from this cycle, so it introduced a snake into the garden through advertisements. Then Google made a fateful discovery: "data exhaust," or the byproduct of user digital behavior, was not waste to be expelled but gold to be mined. Web searches don't just generate results; they generate data: the way you type your query, the heatmap of your mouse, the pages you do or don't visit, and more. This exhaust was actually a "behavioral surplus" capable of bolstering Google's burgeoning advertising business by incorporating predictive modeling based on data its users generated. This, Zuboff laments, sealed the deal: Google abandoned the behavioral value reinvestment cycle for a behavioral surplus business model. It began to prey on its users, hunting for more behavioral surplus and investing in greater tools of surveillance, accumulating "surveillance capital" and developing an expansive extractive and predictive infrastructure eventually aimed at influencing and determining human behavior. Goodbye capitalism, hello surveillance capitalism.

While the book received widespread praise, it was met with criticism from fellow academics and tech critics. Kirstie Ball, professor at the University of St. Andrews, notes the book's refusal to cite relevant surveillance literature, which ends up duplicating numerous arguments that weaken the tome and leave it offering embarrassingly little in terms of concrete next steps. Ball chalks this up, ultimately, to the text being "intended as a wake-up call for the educated business reader to recognize the massive power of the tech platforms." It may provoke some reflection, but ultimately "is more likely to be found in an airport bookshop than in a learned library." 

Blayne Haggart, professor at Brock University, goes a bit further in sharing that he wouldn't be teaching it because "as an academic work, it falls far short of the standards to which we should hold ourselves." He echoes Balls' concerns about citation and engagement with literature but adds that Zuboff goes to great lengths to obscure her own analytical framework and often relies on hyperbole when evidence is scant. 

One example Haggart offers is that Zuboff compares people under surveillance capitalism to poached elephants. She envisions the poachers as some Big Other—in a 2015 article, she defined this as "a new universal architecture existing somewhere between nature and God." Big Other "poaches our behavior for surplus and leaves behind all the meaning lodged in our bodies, our brains, and our beating hearts." We are not the product; we are an abandoned elephant carcass. An existential metaphor that suggests little is to be done, Haggart notes, but a simplistic one that prevents us from thinking clearly about this issue. If one remembers that some people enjoy social media despite its negative externalities, then capitalist reformers might pursue well-established policy solutions constructed for this very type of predicament: taxes or regulation or abolition of the enterprise entirely. 

There are other criticisms of Zuboff's book and theory. The major one comes from tech critic Evgeny Morozov's 14-part, 16,000-word review that interrogates the foundations of Zuboff's argument. Zuboff's theory, he observes, relies on a certain way of seeing capitalism: that its dysfunction is not a product of historical or even systemic features—such as deindustrialization or profit-seeking—but rather "the avoidable consequences of particular organizational arrangements, which, while having their uses in earlier eras, could now be made obsolete with information technology." At play here, also, is an intellectual genealogy stretching back to Havard business history professor Alfred Chandler and his mentor, sociologist Talcott Parsons; social systems function because they have specific needs satisfied by specific parts—history alters those needs, which alters the functioning of those parts, which forces society to adapt. Chandler's own grand theory of "managerial capitalism" was a tautological mess: an analytical model of history that ignored power relations, prioritized technological change, ignored evidence that inconvenienced the core premise that sprang its inquiry and could not recognize it was analyzing capitalism. 

Such is the thrust of Zuboff's work. Surveillance capitalism is driven by the imperatives of surveillance capitalism, which narrows her inquiry to relationships between firms extracting behavioral surplus from users and ignores vast swaths of the digital economy. We discard the geopolitics that helped catalyze Silicon Valley, the sources of capital that fuel its startups, the labor relations at major platforms that carve up daily life, the assetization schemes ranging from crypto to nature itself, the effects of concentrated ownership of computational resources, and more. In effect, we hyperfocus on specific phenomena (surveillance by advertiser giants) in ways that normalize consequential phenomena (as well as other types of surveillance!) happening elsewhere in the digital economy because they do not fit into the theory. However, their inability to fit into surveillance capitalism's theorization does not mean their effects on our politics, labor relations, social lives, culture, economy, and ecology are any less real—just that surveillance capitalism is likely a useless theory. 

Despite Morozov's field dressing, Zuboff's surveillance capitalism has been influential enough to regress our understanding of the digital economy. Before we turn to Zuboff's influence, it's worth looking at a different surveillance capitalism offered up by John Bellamy Foster and Robert W. McChesney at the Monthly Review.

Foster and McChesney's 2014 essay is a lengthy one with a simple premise: World War 2 lifted the U.S. economy out of the Great Depression into hegemonic supremacy, but state planners were still concerned that this would be temporary because "domestic demand would be insufficient to absorb the enormous and growing potential economic surplus generated by the production system, thereby leading to a renewed condition of economic stagnation and depression." To that end, planners in industry and government organized three major campaigns to absorb that surplus: a corporate marketing revolution via Madison Avenue, a military-industrial complex committed to imperial control of markets abroad, and technological innovation, and when those two efforts waned, the ascent of financialization emerged."

...

"It is true that Silicon Valley is home to a horde of reactionaries that pine for a modernity free of liberalism, as well as gripped by a delusion that society would be best served under their dominion. But why? If we are going to offer a theory such as techno-authoritarianism, we have to have some theory about why there is such a break. LaFrance offers us a tautology: these individuals accelerating the pace of our innovation and the triumph of digital technologies owe it to ideas that prioritize accelerating our innovation and the triumph of digital technologies. 

The sad truth is this: Silicon Valley and its reactionaries are chickens coming home to roost. Silicon Valley is not some Promethean flame we smuggled from Olympos. Technology is not some primordial force corrupted by libertarian nerds with too much money. It's of the real world, it's material, it's influenced by the forces of history as much as anything else. Those forces come out of choosing to prioritize technology that helps us undertake surveillance for commerce, advertising, imperial adventure, speculation, and political suppression. The existential threat posed by today's tech capitalist overlords will get much worse. The funny ideas they have about their divine right to rule, their suspicion of competition and democracy, and other people who do not look like them—well, that's how we got here in the first place."]]></description>
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    <title>On the Golden Age of Blogging - varnelis.net</title>
    <dc:date>2025-05-04T19:46:35+00:00</dc:date>
    <link>https://varnelis.net/works_and_projects/on-the-golden-age-of-blogging/</link>
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    <title>Simulacra and Simulation: Baudrillard, Techno-Fascism, and the Tyranny of Advertising - YouTube</title>
    <dc:date>2025-04-13T18:31:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=B4hPDame1f0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cameron Carsten is back with us to enjoy an exploration of Jean Baudrillard’s concept of “absolute advertising” and its transformation of communication, desire, and the public sphere.  This discussion addresses the rise of techno-fascism and the symbolic saturation of everyday life in view of Baudrillard's 'Simulacra and Simulation'. What happens when advertising becomes the default mode of mediation, indistinguishable from culture itself? Together, we unravel how content collapses into form—and how even resistance may be a commodity."]]></description>
<dc:subject>baudrillard technofasism acidhorizon advertising capitalism latecapitalism mediation 2025 cameroncarsten desire communication culture publicsphere photography form markfisher 1981 1994 ads content howweread howwewrite reading writing experience modernity socialmedia internet web online reality thematrix farright rightwing aesthetics nihilism smartphones politics donaldtrump craiglaubach latestagecapitalism jeanbaudrillard</dc:subject>
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<item rdf:about="https://culture.ghost.io/the-age-of-the-double-sell-out/">
    <title>The Age of the Double Sell-Out</title>
    <dc:date>2025-04-11T21:03:05+00:00</dc:date>
    <link>https://culture.ghost.io/the-age-of-the-double-sell-out/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the last three decades, youth culture has moved from a deep suspicion of commerce to a passionate defense of anti-anti-commerce to an entire generation of "creatives” who leverage the commercial market… to do even more commerce

In the 1990s, there was a single ethical principle at the heart of youth culture — don’t sell out. There was a logic behind it: When artists serve the commercial marketplace, they blunt their pure artistic vision in compromising with conventional tastes. This ethic was also core to subcultures, which were supposed to be social spaces for personal expression and community bonding, not style laboratories for the fashion industry.

The ethics against commercial art set strong boundaries for "alternative" culture, which arguably allowed it to flourish as a separate entity. As that culture began to hit the mainstream in the early 1990s, the taboo against selling out spread into broader youth culture. As Chuck Klosterman writes in The Nineties, “The concept of ‘selling out’ — and the degree to which that notion altered the meaning and perception of almost everything is the single most nineties aspect of the nineties.” The kids actually cared. When mainstream radio began to play alternative music, middle school playgrounds erupted with debates on whether REM’s “The Sidewinder Sleeps Tonite” crossed a dangerous "pop" line and whether Stone Temple Pilots were just “poseurs.”

By the late 1990s, however, that very merger between alternative and mainstream culture made the debate around selling out seem very silly. Moreover Britney Spears and the boy bands ushered in a return of manufactured pop. By the early 2000s, everyone — from VICE editors to Total Request Live viewers — agreed that selling out was a dated concept. This backlash found its purest expression when critic Kelefa Sanneh — who spent his youth listening to obscure punk seven-inches and crafting Harvard radio’s notoriously snobby “rock test” — published an op-ed in the New York Times defending Ashlee Simpson for lip syncing on Saturday Night Live. Pop was good, he argued, precisely because it was an industrially manufactured product. This new critical ideology soon crystallized into an "anti-anti-sellout movement" known as “poptimism,” which gave fans of sophisticated culture blanket permission to engage with things made explicitly for profit.

The poptimist ideology succeeded because it made compelling points about why it was unfair to castigate selling out:

1. Artists deserve to make a livelihood: With music sales down after Napster, musicians needed to supplement their income with commercial sponsorship

2. Artists from marginalized communities tend to work in commercially-oriented genres: It was essentially bigotry to see R&B, disco, and teen pop as “lesser"

3. Commercial success is key to true cultural influence: Nirvana and Pearl Jam changed aesthetics because they sold a lot of records

These points were neither cynical nor nihilistic. There was a strong belief that loosening the taboo against selling out would allow art and creativity to flourish. A detente with the marketplace could make art more democratic, more diverse, more sustainable, and more impactful.

There is no question that the poptimists won this debate, and by the mid-Aughts, all lingering anxieties about selling out evaporated from youth culture. The Columbia University students who formed Vampire Weekend didn’t have to take day jobs at Accenture, because they could make a decent living composing Honda ditties alongside their catchy odes to generational wealth.

At this point, the new ideal for an artistic career is what I'd call the “single sell-out.” The artist was "allowed" to make a few commercial compromises to gain attention in the increasingly competitive marketplace, but once they achieved fame and fortune, they were expected to use their vaulted platform to provide the world with meaningful and ground-breaking art. This actually did happen: The Neptunes leveraged their strong track record of pop hits to push legitimately bizarre minimalist tracks like Clipse’s “Grindin’” and Snoop Dogg’s “Drop It Like It's Hot.”  Beyoncé’s “Formation” was musically adventurous, and the video is now considered “the best of all time.”

Unfortunately these examples became rarer and rarer over time. In fact, the 21st century has been the age of the “double sell-out”: Creators who produce market-friendly content to achieve fame — and then use that fame to pursue even more commerce-for-commerce's-sake. MrBeast is arguably one of the most important "creators" of our times. He dreams up, produces, and directs elaborate and sensational video content, which made him the #1 channel on YouTube. He then used this world-historical level of fame... to open a generic fast food chain. This has also become common amongst established stars: George Clooney worked hard for decades to become a well-respected actor... who could take the lead role in a Nespresso commercial.

YouTuber Emma Chamberlain may be the clearest example of the double-sellout, in that she could have taken a very different path. Chamberlain rose to fame through charming confessional videos, arguably a new art form for the internet age. And in not being a total sociopath like many other popular YouTubers, she won the endorsements of mainstream brands. In 2019, she became an official Louis Vuitton ambassador and has been one of the few digital-natives to still receive invitations to the Met Gala. By almost every metric, Chamberlain "made it."

Such fame and financial stability opened the door to a bewildering panoply of opportunity, so where did she put her non-video energy? She worked with her talent agency to create a brand of coffee called Chamberlain Coffee. There are already many coffee brands. What was the innovation Chamberlain hoped to bring to the world of coffee? Well, unlike other brands, Chamberlain Coffee is “passionate about providing high quality, delicious beverages.” Okay, but did she pursue some manner of product differentiation? “We believe that drinks can be more than just drinks, but sources of joy, inspiration and creativity in a cup.” But hold on: Chamberlain holds a very strong belief: “Coffee. For some people (aka me), it’s more than a drink. It’s a way to connect. It’s a way to share moments. And, ok, sometimes it’s just a way to wake up and get stuff done.” Alright.

On first glance, celebrity coffee brands appear to be cynical cash-grabs — a way to nudge captive audiences into buying merch on a monthly basis. They're actually much more cynical than that. James Hoffmann interviewed a guy from Masteroast, which produces the actual coffee for most of these brands. As that guy describes, "We no longer produce products. We produce a code." In this "paint by numbers" model, celebrities provide Masteroast with a diagnostic code outlying certain manufacturing parameters, which the company then automates into bags of mass-produced coffee.

The 20th century taboo against selling out was, at its heart, a communal norm to reward young artists who focused on craft and punish those who appropriated art and subculture for empty profiteering. Now the culture is most exemplified by people whose entire end goal appears to be empty profiteering.

Ultra-poptimists believe that celebrities have the god-given right to always be profitmaxxing — no questions asked — but the problem is that all this explicitly non-artistic output, such as moldy Lunchlys and charmless coffee, becomes the culture. MrBeast is a businessman masking as a creator, but unlike Mark Burnett, he is understood as a star engaged in personal cultural expression.

Whether we like it or not, culture operates on norms, and changes in norms have consequences. The old norm was "don't sell out." The new norm is "do sell-out," or maybe more charitably, "don't judge people on selling out." The outcome is Chamberlain Coffee. If we want different outcomes, we can change the norms, which conveniently costs no money. If we want culture to be culture and not just advertorials for a sprawling network of micro-QVCs pumping out low-quality goods, an easy step would be to re-shift the norms towards, at least, “Don’t be a double sell-out.” This is already a quite generous compromise in that it blesses artists to be conventional to stabilize their income and try to win over large fanbases. But this esteem must be given on the promise that the money and fame are used in pursuit of artistic or creative innovation. Double sell-outs don't deserve our esteem as "creative" people. They should be content with the reward they chose: the money extracted from fans who snap up their mediocre commodities out of parasocial loyalty.

The challenge for our times is to locate and elevate the artists using their platforms for art and other social goods rather than just securing further personal profit. Every time we don't condemn the double sell-outs, we're insulting those in pursuit of what used to be the clear goal: to move culture forward."]]></description>
<dc:subject>wdavidmarx 2025 sellouts capitalism art culture stability economics cynicism nihilism left poptimists kelefasanneh 1990s youth youthculture rem stonetemplepilots chuckklosterman music income nirvana pearljam neptunes mrbeast beyoncé georgeclooney ads advertising clipse snoopdog fame jameshoffmann celebrity celebrities socialgoods sellingout</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=gqtrNXdlraM">
    <title>You Are Witnessing the Death of American Capitalism - YouTube</title>
    <dc:date>2025-03-09T18:07:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gqtrNXdlraM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Corrections and notes: 

A few things were possibly over-simplified to prevent this from becoming a 170 part Ken Burns series. Please do some searching/reading and learn your butt off! I'll add to these as needed, as responding to comments will just get lost in the ether of YouTube comment pages.
 
- Futures contracts and options are a bit different. In a contract, the buyer is obligated to buy the asst, and an option frees them of that obligation. 

- The wealth generated in the 1950's can also be greatly contributed to much of Europe's destruction and how America used that as leverage to lend money under the condition of the US dollar being standardized for trade. This is a fascinating hour long video in itself.

- I anticipate that a portion of viewers will argue that this is just a new phase of capitalism. I disagree, but delving further into that disagreement requires further analyzing the semantic definition of "capitalism", which is probably a waste of time. So whether this is a new thing that doesn't have a name or a new mutation of capitalism that doesn't have a name, both are correct in describing the circumstances. 

- Bitcoin would've been a great answer to a lot of these problems. Unfortunately it's not used as a currency, but as a prospective asset. If it's not replacing the US dollar enmasse, it's not a solution to anything in this video. In fact, it makes a lot of this worse when you consider the insane amount of alt-coins. 

Further viewing: 
- There is no higher recommendation on YouTube than  @PBoyle  for anything related to finance or economic history. 
- Adam Curtis (BBC, etc) makes films that provide excellent surreal recaps of recent history that absolutely inspire me greatly. 

LOTS of books I recommend:
- Technofuedalism is an excellent and accessible book about this from Yanis Varoufakis. It's actually a bit more far-reaching (and scary) than my conclusions in this video. 

All of the following inspired this video: 
- The Age of Surveillance Capitalism by Shoshana Zuboff
- Platform Capitalism by Nick Srnicek
- The Attention Merchants by Tim Wu
- New Dark Age by James Bridle
- Capital is Dead: Is this something worse? by McKenzie Wark

Finally, there are too many books to name about WWII and the Soviet Union that fascinate me endlessly. There is so much to learn those time-encapsulated parallel economies. 

Timestamps:
0:00 - Intro
1:43 - CH1 Capitalism (A Eulogy)
9:23 - CH2 History Repeats Itself
19:33 - CH3 Post Capitalism
26:27 - CH4 Digital Sharecropping
36:10 - Conclusions"]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/technofeudalism-what-killed-capitalism">
    <title>Technofeudalism: What Killed Capitalism (with Yanis Varoufakis) | The Chris Hedges Report</title>
    <dc:date>2025-01-29T20:37:46+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/technofeudalism-what-killed-capitalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The year 2008 signaled to many the weak foundations of modern capitalism in the hands of the greedy, untethered financial sector—the “vampire squid” investment banks as journalist Matt Taibbi called them. Rising from the ashes of the crash, these banks used government money—”socialism for the bankers”—to enrich themselves and Big Business. This money never got to the masses. Instead shares were bought back in traditional capitalist industries and an emerging powerful bloc—the Jeff Bezos’s, the Microsoft’s, the Google’s of the world—invested in what guest Yanis Varoufakis calls, “cloud capital.”

Former member of the Greek parliament and Minister of Finance Yanis Varoufakis joins host Chris Hedges on this episode of The Chris Hedges Report to explain how capitalism is dead and a new form of capital, the title of his new book, “Technofeudalism,” has arisen and holds power akin to the feudal lords of medieval times.

Varoufakis argues that the two pillars of capitalism, markets and profits, have now been replaced and a familiar system of fiefdoms and serfs has emerged. “Markets have been replaced by these digital platforms that look like markets but are not markets. They're more like digital or cloud fiefdoms like Amazon.com or Alibaba, where you have a digital fence keeping within it producers, consumers, artisans, intellectuals, and we are all essentially producing value for the owner of that digital fiefdom, Jeff Bezos in this particular case, in the case of Amazon, who charges ground rent, but of course it's cloud rent,” Varoufakis tells Hedges.

The huge amount of investment in phones, laptops, cell towers, server farms and thousands of miles of optical fiber cables has brought about a system that now dominates all parts of life, including even behavior modification in individual people. The most common platforms used today—Instagram, Google, Amazon, etc.—use their automated systems to produce “tailor-made advertisements which are in a dialectical relationship with us,” Varoufakis says. “We train them to train us, to train them to train us, to convince us that we want something.”

Varoufakis discusses this and more, including how private equity companies like BlackRock, State Street and Vanguard also tap into this system of rentier capitalism and do away with competition, parasitically exploiting working people and traditional capitalists alike."

[full transcript on page]

direct link to YouTube:
https://www.youtube.com/watch?v=sZDh8JvUG1Q ]]]></description>
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<item rdf:about="https://www.wheresyoured.at/never-forgive-them/">
    <title>Never Forgive Them</title>
    <dc:date>2025-01-03T00:38:55+00:00</dc:date>
    <link>https://www.wheresyoured.at/never-forgive-them/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m fairly regularly asked why this all matters to me so much, so as I wrap up the year, I’m going to try and answer that question, and explain why it is I do what I do.

I spent a lot of time alone as a kid. I didn't have friends. I was insular, scared of the world, I felt ostracised and unnoticed, like I was out of place in humanity. The only place I found any kind of community — any kind of real identity — was being online. My life was (and is) defined by technology. 

Had social networking not come along, I am not confident I’d have made many (if any) lasting friendships. For the first 25 or so years of my life, I struggled to make friends in the real world for a number of reasons, but made so many more online. I kept and nurtured friendships with people thousands of miles away, my physical shyness less of an issue when I could avoid the troublesome “hey I’m Ed” part that tripped me up so much.

Without the internet, I’d likely be a resentful hermit, disconnected from humanity, layers of scar tissue over whatever neurodivergence or unfortunate habits I'd gained from a childhood mostly spent alone. 

Don't feel sorry for me. Technology has allowed me to thrive. I have a business, an upcoming book, this newsletter, and my podcast. I have so many wonderful, beautiful friends who I love that have come exclusively through technology of some sort, likely a social network or the result of a digital connection of some kind. 

I am immensely grateful for everything I have, and grateful that technology allowed me to live a full and happy life. I imagine many of you feel the same way. Technology has found so many ways to make our lives better, perhaps more in some cases than others. I will never lie and say I don't love it.

However, the process of writing this newsletter and recording my podcast has made me intimately aware of the gratuitous, avaricious and intentional harm that the tech industry has caused to its customers, the horrifying and selfish decisions they’ve made, and the ruinous consequences that followed.

The things I have watched happen this year alone — which have been at times an enumeration of over a decade of rot  — have turned my stomach, as has the outright cowardice of some people that claim to inform the public but choose instead to reinforce the structures of the powerful.  

I am a user. I am a guy with a podcast and a newsletter, but I am behind the mic and the keyboard a person that uses the same services as you do, and I see the shit done to us, and I feel poison in my veins. I am not holding back, and neither should you. What is being done to us isn't just unfair — it's larcenous, cruel, exploitative and morally wrong. 

Some may try to dismiss what I'm saying as "just social media" or "just how apps work" and if that's what you truly think, you're either a beaten dog or a willing (or unwilling) operative for the people running the con. 

I will never forgive these people for what they’ve done to the computer, and the more I learn about both their intentions and actions the more certain I am that they are unrepentant and that their greed will never be sated. I have watched them take the things that made me human — social networking, digital communities, apps, and the other connecting fabric of our digital lives — and turned them into devices of torture, profitable mechanisms of abuse, and find it disgusting how many reporters seem to believe it's their responsibility to thank them and explain why it's good this is happening to their readers.  

* Sam Altman is a con artist, a liar, and a sleazy carnival barker who would burn our planet to the ground, steal from millions of people and burn billions of dollars in pursuit of power, and I believe the same can be said of people like Dario Amodei of Anthropic and Mustafa Suleyman of Microsoft. 

* Tim Cook is a wolf in sheep’s clothing, slowly allowing the rot to seep into Apple’s products, slowly adding bothersome subscription products and useless AI features to chip away at the user experience. Apple’s app store and its repeated support of exploitative microtransaction-laden mobile games built to create gambling-like addiction in adults and children alike, making it billions of dollars a year. Because Apple’s products are less shitty, it gets a much easier time.

* Sundar Pichai is the Henry Kissinger of technology — a glossy executive that escapes blame despite having caused harm on a global scale. The destruction of Google Search at the hands of Sundar Pichai and Prabhakar Raghavan should be written about like a war crime, and those responsible treated as such.

* Satya Nadella has aggressively expanded Microsoft’s various monopolies, the most egregious of which is the Microsoft 365 suite — a monopoly over business software that everybody kind of hates that Microsoft prices to undercut the competition, effectively setting the conditions of most business software as either “cheaper than Microsoft” or “slightly better than Microsoft.” Nadella has overseen layoffs of tens of thousands of people in the last three years alone, and despite his bullshit “growth mindset” culture treats his employees and customers as equally disposable.

* Mark Zuckerberg is a putrid ghoul that has overseen the growth and proliferation of some of the single-most abusive and manipulative software in the world. Meta has grown to a market cap of $1.5 trillion dollars by intentionally making the experience on Instagram and Facebook worse, intentionally frustrating and harming billions of people. 

These are the people in charge. These are the people running the tech industry. These are the people who make decisions that affect billions of people every minute of every day, and their decisionmaking is so flagrantly selfish and abusive that I am regularly astonished by how little criticism they receive. 

These men lace our digital lives with asbestos and get told they’re geniuses for doing so because money comes out.

I don’t know — or care — whether these men know who I am or read my work, because I only care that you do. 

I don't give a shit if Sam Altman or Mark Zuckerberg knows my name. I don't care about any of their riches or their supposed achievements, I care that when given so many resources and opportunities to change the world they chose to make it worse. These men are tantamount to war criminals, except in 30 years Mark Zuckerberg may still be seen as a success — though I will spend the rest of my life telling you the damage he's caused. 

I care about you. The user. The person reading this. The person that may have felt stupid, or deficient, or ignorant, all because the services you pay for or that monetize you have been intentionally rigged against you.

You aren't the failure. The services, the devices, and the executives are. 

If you cannot see the significance of the problems I discuss every week, the sheer scale of the rot, the sheer damage caused by unregulated and unrepentant managerial parasites, you are living in a fantasy world and I both envy and worry for you. You're the frog in the pot, and trust me, the stove is on. 

2025 will be a year of chaos, fear and a deficit of hope, but I will spend every breath I have telling you what I believe and telling you that I care, and you are not alone. 

For years, I’ve watched the destruction of the services and the mechanisms that were responsible for allowing me to have a normal life, to thrive, to be able to speak with a voice that was truly mine. I’ve watched them burn, or worse, turned into abominable growth vehicles for men disconnected from society and humanity. I owe my life to an internet I've watched turned into multiple abuse factories worth multiple trillions of dollars and the people responsible get gladhandled and applauded. 

I will scream at them until my dying fucking breath. I have had a blessed life, and I am lucky that I wasn't born even a year earlier or later, but the way I have grown up and seen things change has allowed me to fully comprehend how much damage is being done today, and how much worse is to come if we don't hold these people accountable. The least they deserve is a spoken or written record of their sins, and the least you deserve is to be reminded that you are the victim. 

I don't think you realise how powerful it is being armed with knowledge — the clarity of what's being done to and why, and the names of the people responsible. This is an invisible war — and a series of invisible war crimes — perpetuated against billions of people in a trillion different ways every minute of every day, and it's everywhere, a constant in our lives, which makes enumerating and conceptualising it difficult. 

But you can help. 

You talking about the truth behind generative AI, or the harms of Facebook, or the gratuitous destruction of Google Search will change things, because these people are unprepared for a public that knows both what they’ve done and their sickening, loathsome, selfish and greedy intentions. 

I realize this isn’t particularly satisfying to some, because you want big ideas, big changes that can be made. I don’t know what to tell you. I don’t know how to fix things. To quote Howard Beale in the movie Network, I don’t want you to write your Congressman because I don’t know what to tell you to write.

But what I can tell you is that you can live your life with a greater understanding of the incentives of those who control the internet and have made your digital lives worse as a means of making themselves rich. I can tell you to live with more empathy, understanding and clarity into the reasons that people around you might be angry at their circumstances, as even those unrelated to technology are made worse by exploitative, abusive and pernicious digital manipulation. 

This is a moment of solidarity, as we are all harmed by the Rot Economy. We are all victims. It takes true opulence to escape it, and I'm guessing you don't have it. I certainly don't. But talking about it — refusing to go quietly, refusing to slurp down the slop willingly or pleasantly — is enough. The conversations are getting louder. The anger is getting too hard to ignore. These companies will be forced to change through public pressure and the knowledge of their deeds. 

Holding these people to a higher standard at scale is what brings about change. Be the wrench in the machine. Be the person that explains to a friend why Facebook sucks now, and who chose to make it suck. Be the person to explain who Prabhakar Raghavan is and what his role was in making Google Search worse. Be the person who tells people that Sam Altman burns $5 billion a year on unsustainable software that destroys the environment and is built upon the large-scale larceny of creative works because he's desperate for power. 

Every time you do this, you destabilise them. They have succeeded in a decades-long marketing campaign where they get called geniuses for making the things that are necessary to function in society worse. You can change that. 

I don't even care if you cite me. Just tell them. Tell everybody. Spread the word. Say what they've done and say their names, say their names again and again and again so that it becomes a contagion. They have twisted and broken and hyper-monetised everything — how you make friends, fall in love, how you bank, how you listen to music, how you find information. Never let their names be spoken without disgust. Be the sandpaper in their veins and the graffiti on their legacies. 

The forces I criticize see no beauty in human beings. They do not see us as remarkable things that generate ideas both stupid and incredible, they do not see talent or creativity as something that is innately human, but a commodity to be condensed and monetized and replicated so that they ultimately own whatever value we have, which is the kind of thing you’d only believe was possible (or want) if you were fully removed from the human race.

You deserve better than they’ve given you. You deserve better than I’ve given you, which is why I’m going to work even harder in 2025. Thank you, as ever, for your time."]]></description>
<dc:subject>edzitron 2024 growth capitalism business software google apple advertising ai enshittification artificialintelligence technology bigtech roteconomy economics gdp siliconvalley microsoft meta facebook tesla elconmusk platforms tiktok spotify danielek billionaires uber microtransactions outlook ads web internet online prabhakarraghavan 2019 search searchengines monetization society ecology environment globalwarming climatechange corporations corporatism psychology fraud manipulation deathcults amazon serverfarms energy consumerism consumption data windows ecommerce ebay qvc quickbooks algorithms politics abuse hbo privateequity finance media socialmedia corydoctorow decline economy jackwelch miltonfriedman neoliberalism profitability culture accountability samaltman openai chatgpt timcook mustafasuleyman daioamodei sundarpichai henrykissinger satyanadella microsoft365 markzuckerberg googlesearch incentives anthropic</dc:subject>
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<item rdf:about="https://onethingnewsletter.substack.com/p/the-new-rules-of-media">
    <title>🟧 The new rules of media - One Thing</title>
    <dc:date>2024-12-13T06:59:40+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/the-new-rules-of-media</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["20 lessons for digital media’s present and future

Kyle Chayka: There’s an old-school magazine editorial format that goes something like “The New Rules for [X]” or “The New Way to [Y],” posing a tongue-in-cheek surety. New York magazine revived it in 2023 for its post-COVID etiquette package “The New Rules” for dating, partying, parenting, etc. Lately, some lines about the tumultuous landscape of digital media have been rattling around in my head, little axioms about How Things Work Now in our micro-era of news influencers, video podcasts, and group newsletters. So I packaged them up in that style. The implicit promise of all such guides: If you follow these rules, you will definitely succeed.

With input and contributions from Delia Cai, David Cho, and Nick Quah.


1. Everything is a personality cult, and maybe just a cult. You have to cultivate your own, no matter how small. To do so you must always be relatable, but also ideally aspirational. Just don’t get too out of the reach of your cultists.

2. New platforms emerge all the time and some of them become very popular. The best way to succeed online is to surf the upward wave of a new platform by committing 100% and catering all of your output to it. It’s a land grab game. Once you win the game, then you can be less obsequious to the platform.

3. No matter if you’re a text-only website, it is now in your best interests to hire camera-ready contributors who will make successful video-podcast clips. The problem is journalists and critics aren’t generally known for their personal aesthetic appeal.

4. Parasocial relationships are the name of the game. When people call for a Joe Rogan of the left, it seems like they don’t realize that one of the reasons he is so powerful is that he is many of his listeners’ best friend. People spend hours and hours a day with him; his show and its extended universe have become an on-demand loneliness killing service. The power (and value) of that relationship is unmatched. Puck is a parasocial publication, that’s why you hear the tentpole writers’ voices in solo podcasts.

5. Consumers tend to find a few trusted sources of facts and opinions and stick to them, then it’s hard to tear the consumers away. The sources could be podcasts or influencers or TikTok accounts or platforms. But when one sinks into decay or disappears completely there’s a chance to grab the formerly loyal consumers.

6. Each time a platform decays or fades in popularity there is a fresh chance to reset the online hierarchy. New voices go from obscurity to prominence and old brands start losing their holds on authority. Look for those moments and take advantage of them. (See the exodus from X to Threads and Bluesky.)

7. Locality and specificity are good things and offer ways to preserve meaning in the increasingly contextless internet. You have to remain tied to your own digital geography or the scope of a specific viewpoint. An audience wants to feel like an in-group, like they’re in on the joke, even if that joke is just that the mayor of New York sucks.

8. The most compelling publications or media brands are the ones that can throw the best parties, because it shows they can mobilize an IRL group of interesting people, who are then consumers and customers and clients. (See Feed Me, The Drift, Byline / The Drunken Canal cinematic universe.) Media brands increasingly work like fashion brands: Consumers have to want to wear them. If no one wants to come to your party, you’re doing it wrong.

9. Be vigilant. Break up with them before they can break up with you, whether it’s platforms, employers, or audiences.

10. Average consumers are less obsessed with newsiness than the media industry tends to think. Evergreen content is good, whatever is interesting is good, even if it’s “old.” Non-newsy newsletters are replacing the racks of undated magazines at the grocery store checkout and they’re probably making more money than you are. (See also the true crime boom: Who cares if it’s not a recent murder?)

11. If you want a publication or a writer / podcaster / video maker to continue existing, find a way to pay for their work as directly as possible. Your fav old magazines and sites are going to continue disintegrating and contributors will spin off solo or in little groups. (See Hearing Things from ex-Pitchfork staff, Best Food Blog from ex-Epicurious and Bon Appetit staff.) The job as a consumer is to find and support them

12. Everything is iterative. A single Instagram or Twitter account becomes a newsletter becomes a small publication with a few contributors becomes a corporation. (See The Free Press.) Thus it makes sense to build your concept in public and test its engagement at every stage. Every powerful brand starts with a single post. As with restaurants, new publications or writerly personas will pop up in established spaces and then go independent when they can survive alone.

13. Everything is multi-platform and multimedia. Not just journalist-personalities, but every magazine issue, every feature package, every article. The article is just the intellectual property made to be leveraged in as many spaces as possible. The presentation has to be optimized in every venue: You need good Instagram pinned posts, whether you’re a person or a brand, not that there’s a difference.

14. Broadcast on every channel, at least if you want to intensify your personality cult: text, livestream, video, audio. Jamelle Bouie broadcasts his ideas (and persona) on every platform at once. His TikTok commenters mostly ask him where he buys his very fashionable jackets. Now we’re watching Ezra Klein talk on the NYT site as well as listening to him. You have to be better than the rando parroting your articles in a selfie video.

15. No one is media literate. The more you explain who you are and what you do, the better. Preface your newsletter with the explanation of wtf you’re writing, anyway, because your subscribers don’t remember. The “enhanced bios” of NYT, Vox, etc, are long because of SEO but they also make explicit the expertise that was once just assumed from professionalized media.

16. Rely on nothing you can’t take with you. For now, Substack email lists and Stripe charges are still portable. If they weren’t, I would move to Ghost, because Substack’s incentive is to get you as locked in as possible. (Patreon still keeps your Stripe info, therefore fuck Patreon.) The same goes for audiences: Direct traffic, through homepages or email inboxes, is the most reliable because no one can take it from you, but it’s the hardest to cultivate.

17. The traditional metrics of success don’t matter. Don’t rely on the old regime to recognize the achievements or potential of the emerging one. There’s no Pulitzer for newsletters or TikTok explainers; BuzzFeed News died winning a single one. The most successful small digital media businesses are YouTube channels that no NYT exec will ever recognize.

18. Advertising will never die. Even if Substack thinks it designed itself as the anti-ad content ecosystem, just take a look at all the newsletters with sponsored posts, classified listings, and partner email sends. Going subscription-only means leaving money on the table, which no media company can afford. Display advertising alone is kind of impossible, too. Semafor makes a major chunk of its revenue from IRL sponsored schmoozing events

19. Nothing matters more than the relationship between a person, brand, or publisher and their audience. Screentime has become a colosseum where everything is in competition with everything else: email from work competes with text from a friend competes with Instagram and Tiktok. Every second for the viewer is just that viral video where the person picks between two pop stars. You’re always deciding what to pay attention to. The relationship between person-who-makes and person-who-consumes is paramount to long-term success, because if you are winning that game then you will be able to survive.

20. Make sure you know why you’re doing something, especially if you’re a publisher or brand and you have limited bandwidth and / or resources. Your print magazine has a blog? Why? What is that accomplishing? Is it even good or does it make you look bad? Define your goals, inspect them thoroughly and be able to have an honest answer about why you want them. Media does too many things because they seem cool internally, when the audience doesn’t really give a shit."
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=W_dZPpIACjc">
    <title>Trump 2.0: Silicon Valley's hidden hand in our new politics with Cory Doctorow - YouTube</title>
    <dc:date>2024-11-19T18:39:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=W_dZPpIACjc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There are a lot of similarities between the 2016 and 2024 elections, but the media ecosystem we have today is fundamentally different from the ecosystem we had in 2015-2016, during the first stage of Donald Trump’s political rise and the MAGA-morphosis of the Republican party. The Twitter and Facebook of that time are long gone, as are many of the methods of digital resistance that people employed on those platforms during the first Trump administration. The power and visibility dynamics on multiplying digital platforms, from TikTok to Truth Social, have rearranged dramatically since then, the “public sphere” is way more splintered, and our shared digital (and physical) spaces are decreasing. Moreover, the Big Tech oligarchs and private tech companies that profit from surveilling us and siloing us in algorithmically curated echo chambers have thrown their full weight behind Trump, and they will have even more power in a second Trump administration to shape our digital present and future.

How are corporate, independent, and social media changing the terrain of politics today? What does digital activism look like in 2024, and can it be an effective means of resistance during a second Trump administration? TRNN Editor-in-Chief Maximillian Alvarez digs into these questions with world-renowned science fiction author, activist, and journalist Cory Doctorow.

Cory Doctorow is the author of many books, including recent non-fiction titles like Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labor Markets and How We’ll Win Them Back, which he coauthored with Rebecca Giblin, and The Internet Con: How to Seize the Means of Computation. His latest work of fiction, The Bezzle, was published earlier this year by Tor Books. In 2020, Doctorow was inducted into the Canadian Science Fiction and Fantasy Hall of Fame."

[Transcript:
https://therealnews.com/how-big-tech-made-trump-2-0 ]]]></description>
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<item rdf:about="http://www.fvckthemedia.com/issue61/pirate-libraries">
    <title>PIRATE LIBRARIES and the fight for open information - The Media</title>
    <dc:date>2024-10-14T19:44:44+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a digital era that destabilizes traditional notions of intellectual property, cultural producers must rethink information access.

Over the last several years, a number of pirate libraries have done just that. Collaboratively run digital libraries such as Aaaaaarg, Monoskop, Public Library, and UbuWeb have emerged, offering access to humanities texts and audiovisual resources that are technically ‘pirated’ and often hard to find elsewhere.

Though these sites differ somewhat in content, architecture, and ideological bent, all of them disavow intellectual copyright law to varying degrees, offering up pirated books and media with the aim of advancing information access.

“Information wants to be free,” has served as a catchphrase in recent internet activism, calling for information democracy, led by media, library and information advocates.

As online information access is increasingly embedded within the networks of capital, the digital text-sharing underground actualizes the Internet’s potential to build a true information commons.

With such projects, the archive becomes a record of collective power, not corporate or state power; the digital book becomes unlocked, linkable, and shareable.

Still, these sites comprise but a small subset of the networks of peer-to-peer file sharing. Many legal battles waged over the explosion of audiovisual file sharing through p2p services such as Napster, BitTorrent and MediaFire. At its peak, Napster boasted over 80 million users; the p2p music-sharing service was shut down after a high-profile lawsuit by the RIAA in 2001.

The US Department of Justice brought charges against open access activist Aaron Swartz in 2011 for his large-scale unauthorized downloading of files from the JStor Academic database. Swartz, who sadly committed suicide before his trial, was an organizer for Demand Progress, a campaign against the Stop Online Piracy Act, which was defeated in 2012. Swartz’s actions and the fight around SOPA represent a benchmark in the struggle for open-access and anti-copyright practices surrounding the digital book.

Aaaaaarg, Monoskop, UbuWeb and Public Library are representative cases of the pirate library because of their explicit engagement with archival form, their embrace of ideas of the digital commons within current left-leaning thought, and their like-minded focus on critical theory and the arts.

All of these projects lend themselves to be considered as libraries, retooled for open digital networks.

Aaaaaarg.org, started by Los Angeles based artist Sean Dockray, hosts full-text pdfs of over 50,000 books and articles. The library is connected to a an alternative education project called the Public School, which serves as a platform for self-organizing lectures, workshops and projects in cities across the globe. Aaaaaarg’s catalog is viewable by the public, but upload/download privileges are restricted through an invite system, thus circumventing copyright law.

The site is divided into a “Library,” in which users can search for texts by author; “Collections,” or user-generated grouping of texts designed for reading groups or research interests; and “Discussions,” a message board where participants can request texts and volunteer for working groups. Most recently, Aaaaaarg has introduced a “compiler” tool that allows readers to select excerpts from longer texts and assemble them into new PDFs, and a reading tool that allows readers to save reference points and insert comments into texts. Though the library is easily searchable, it doesn’t maintain high-quality metadata. Dockray and other organizers intend to preserve a certain subjective and informal quality, focusing more on discussion and collaboration than correct preservation and classification practice.

Aaaaaarg has been threatened with takedowns a few times, but has survived by creating mirrored sites and reconstituted itself by varying the number of A’s in the URL. Its shifts in location, organization, and capabilities reflect both the decentralized, ad-hoc nature of its maintenance and the organizers’ attempts to elude copyright regulations. Text-sharing sites such as Aaaaaarg have also been referred to as shadow libraries, reflecting their quasi-covert status and their efforts to evade shutdown.

Monoskop.org, a project founded by media artist Dušan Barok, is a wiki for collaborative studies of art, media and the humanities that was born in 2004 out of Barok’s study of media art and related cultural practices. Its significant holdings - about 3,000 full-length texts and many more excerpts, links and citations - include avant-garde and modernist magazines, writings on sound art, scanned illustrations, and media theory texts.

As a wiki, any user can edit any article or upload content, and see their changes reflected immediately. Monoskop is comprised of two sister sites: the Monoskop wiki and Monoskop Log, the accompanying text repository. Monoskop Log is structured as a Wordpress site with links hosted on third-party sites, much like the rare-music download blogs that became popular in the mid-2000s. Though this architecture is relatively unstable, links are fixed on-demand and site mirroring and redundancy balance out some of the instability.

Monoskop makes clear that it is offering content under the fair-use doctrine and that this content is for personal and scholarly use, not commercial use. Barok notes that though there have been a small number of takedowns, people generally appreciate unrestricted access to the types of materials in Monoskop log, whether they are authors or publishers.

Public Library, a somewhat newer pirate library founded by Croatian Internet activist and researcher Marcell Mars and his collaborators, currently offers a collection of about 6,300 texts. The project frames itself through a utopian philosophy of building a truly universal library, radically extending enlightenment-era conceptions of democracy. Through democratizing the tools of librarianship – book scanning, classification systems, cataloging, information – it promises a broader, de-institutionalized public library.

In Public Library: An Essay, Public Library’s organizers frame p2p libraries as “fragile knowledge infrastructures built and maintained by brave librarians practicing civil disobedience which the world of researchers in the humanities rely on.” This civil disobedience is a politically motivated refutation of intellectual property law and the orientation of information networks toward venture capital and advertising. While the pirate libraries fulfill this dissident function as a kind of experimental provocation, their content is audience-specific rather than universal.

UbuWeb, founded in 1996 by conceptual artist/ writer Kenneth Goldsmith, is the largest online archive of avant-garde art resources. Its holdings include sound, video and text-based works dating from the historical avant-garde era to today. While many of the sites in the “pirate library” continuum source their content through community-based or peer-to-peer models, UbuWeb focuses on making available out of print, obscure or difficult to access artistic media, stating that uploading such historical artifacts doesn’t detract from the physical value of the work; rather, it enhances it. The website’s philosophy blends the utopian ideals of avant-garde concrete poetry with the ideals of the digital gift economy, and it has specifically refused to accept corporate or foundation funding or adopt a more market-oriented business model.

Pirate Libraries vs. “The Sharing Economy”

In pirate libraries, information users become archive builders by uploading often-copyrighted content to shared networks.

Within the so-called “sharing economy,” users essentially lease e-book content from information corporations such as Amazon, which markets both the Kindle as platform. This centralization of intellectual property has dire impacts on the openness of the digital book as a collaborative knowledge-sharing device.

In contrast, the pirate library actualizes a gift economy based on qualitative and communal rather than monetized exchange. As Mackenzie Wark writes in A Hacker Manifesto (2004), “The gift is marginal, but nevertheless plays a vital role in cementing reciprocal and communal relations among people who otherwise can only confront each other as buyers and sellers of commodities.”

From theorizing new media art to building solidarity against repressive regimes, such communal information networks can crucially articulate shared bodies of political and aesthetic desire and meaning. According to author Matthew Stadler, literature is by nature communal. “Literature is not owned,” he writes. “It is, by definition, a space of mutually negotiated meanings that never closes or concludes, a space that thrives on — indeed requires — open access and sharing.”

In a roundtable discussion published in New Formations, Aaaaaarg founder Sean Dockray remarks that the site “actively explored and exploited the affordances of asynchronous, networked communication,” functioning upon the logic of the hack. Dockray continues: “But all of this is rather commonplace for what’s called ‘piracy,’ isn’t it?” Pirate librarianship can be thought of as a practice of civil disobedience within the stringent information environment of today.

These projects promise both the realization and destruction of the public library. They promote information democracy while calling the professional institution of the Library into question, allowing amateurs to upload, catalog, lend and maintain collections. In Public Library: An Essay, Public Library’s organizers write: “With the emergence of the internet… librarianship has been given an opportunity… to include thousands of amateur librarians who will, together with the experts, build a distributed peer-to-peer network to care for the catalog of available knowledge.”

Public Library frames amateur librarianship as a free, collaboratively maintained and democratic activity, drawing upon the language of the French Revolution and extending it for the 21st century. While these practices are democratic in form, they are not necessarily democratic in the populist sense; rather, they focus on bringing high theoretical discourses to people outside the academy. Accordingly, they attract a modest but engaged audience of critics, artists, designers, activists, and scholars.

The activities of Aaaaaarg and Public Library may fall closer to ‘peer preservation’ than ‘peer production,’ as the desires to share information widely and to preserve these collections against shutdown often come into conflict. In a recent piece for e-flux coauthored with Lawrence Liang, Dockray accordingly laments “the unfortunate fact that digital shadow libraries have to operate somewhat below the radar: it introduces a precariousness that doesn’t allow imagination to really expand, as it becomes stuck on techniques of evasion, distribution, and redundancy.”

UbuWeb and Monoskop, which digitize rare, out-of-print art texts and media rather than in-print titles, can be said to fulfill the aims of preservation and access. UbuWeb and Monoskop are openly used and discussed as classroom resources and in online arts journalism more frequently than the more aggressively anti-copyright sources; more on-the-record and mainstream visibility likely -- but doesn’t necessarily -- equate to wider usage.

From Alternative Space to Alternative Media

Aaaaaarg locates itself as a ‘scaffolding’ between institutions, a platform that unfolds between institutional gaps and fills them in, rather than directly opposing them. Over ten years after it was founded, it continues to provide a community for “niche” varieties of political critique.

Drawing upon different strains of ‘alternative networking,’ the digital text-sharing underground gives a voice to those quieted by the mechanisms of institutional archives, publishing, and galleries. On the one hand, pirate libraries extend the logic of alternative art spaces/artist-run spaces that challenge the “white cube” and the art market; instead, they showcase ways of making that are often ephemeral, performative, and anti-commercial.

Lawrence Liang refers to projects such as Aaaaaarg as “ludic libraries,” as they encourage a sense of intellectual play that deviates from well-established norms of utility, seriousness, purpose, and property.

Just as alternative, community-oriented art spaces promote “fringe” art forms, the pirate libraries build upon open digital architectures to promote “fringe” scholarship, art, technological and archival practices. Though the comparison between physical architecture and virtual architecture is a metaphor here, the impact upon creative communities runs parallel.

At the same time, the digital text-sharing underground builds upon Robert W. McChesney’s calls in Digital Disconnect for a democratic media system that promotes the expansion of public, student and community journalism. A truly heterogeneous media system, for McChesney, would promote a multiplicity of opinions, supplementing for-profit mass media with a substantial and varied portion of nonprofit and independent media.

In order to create a political system – and a media system – that reflects multiple interests, rather than the supposedly neutral status quo, we must support truly free, not-for-profit alternatives to corporate journalism and “clickbait” media designed to lure traffic for advertisers. We must support creative platforms that encourage blending high-academic language with pop-culture; quantitative analysis with art-making; appropriation with authenticity: the pirate libraries serve just these purposes.

Pirate libraries help bring about what Gary Hall calls the “unbound book” as text-form; as he writes, we can perceive such a digital book “as liquid and living, open to being continually updated and collaboratively written, edited, annotated, critiqued, updated, shared, supplemented, revised, re-ordered, reiterated and reimagined.” These projects allow us to re-imagine both archival practices and the digital book for social networks based on the gift.

Aaaaaarg, Monoksop, UbuWeb, and Public Library build a record of critical and artistic discourse that is held in common, user-responsive and networkable. Amateur librarians sustain these projects through technological ‘hacks’ that innovate upon present archival tools and push digital preservation practices forward.

Pirate libraries critique the ivory tower’s monopoly over the digital book. They posit a space where alternative communities can flourish.

Between the cracks of the new information capital, the digital text-sharing underground fosters the coming-into-being of another kind of information society, one in which the historical record is the democratically-shared basis for new forms of knowledge.

From this we should take away the understanding that piracy is normal and the public domain it builds is abundant. While these practices will continue just beneath the official surface of the information economy, it is high time for us to demand that our legal structures catch up."]]></description>
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    <title>Anything that Lets Me See More of the World</title>
    <dc:date>2024-09-30T19:16:34+00:00</dc:date>
    <link>https://www.scopeofwork.net/anything-that-lets-me-see-more-of-the-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a type of person who reinvests the dividends on their skill set, parlaying one nerdy experience into another, not so much raising the stakes as expanding the field of play, exploring whatever parts of the world make themselves available. When I think of this type of person I think of Tim Hwang, who among other things is the author of Subprime Attention Crisis: Advertising and the Time Bomb at the Heart of the Internet, which the SOW Members' Reading Group read recently. Among other things Tim is also a fellow at a think tank, a partner at a boutique law firm, and ostensibly my erstwhile/absentee boss at the Infrastructure Observatory.

In short Tim is extensively learned, and when we with him over the summer I honestly wasn't sure where the conversation would go. In the interview below (which has been edited for readability), we discuss the structure of the internet advertising industry, how to get a tour of a nuclear power plant, and USPS' rules for media mail — as well as Tim's philosophical approach to his absolutely fascinating career path."]]></description>
<dc:subject>spencerwright infrastructure timhwang 2024 b ayarea sanfrancisco siliconvalley google advertising ads internet web online finance business commodification pathologies jamescoleman attention platforms micropayments blockchain accesspsychology music streaming amazon substack twitter instagram facebook meta socialmedia economics baybridge</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7a57ccbe9834/</dc:identifier>
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<item rdf:about="https://dougald.substack.com/p/what-art-is-not">
    <title>What Art Is Not - by Dougald Hine - Writing Home</title>
    <dc:date>2024-08-16T16:16:19+00:00</dc:date>
    <link>https://dougald.substack.com/p/what-art-is-not</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On what happens when artists are brought into projects about climate change"

...

"During the countdown to the paperback release of At Work in the Ruins, I want to pick out a few of the passages from the book that I hear people talk about the most. These are the stories, ideas or framings that are proving helpful to readers in their own work. Today, a passage about the role(s) of art under the shadow of climate change."

...

"Art is not a cheap alternative to an advertising agency or a sophisticated extension of the communications department, and the urgency of the message doesn’t change this."

...

"During 2015-16, I served as leader of artistic and audience development at Riksteatern, Sweden’s national theatre. The role didn’t exist before I was appointed and it doesn’t exist today. It came about because the incoming artistic director, Måns Lagerlöf, had read the Dark Mountain manifesto and been powerfully affected by it, and then discovered to his surprise that I had moved to Sweden. He brought me in to work at the core of his artistic team and part of my brief for those two years was to explore the role(s) of art under the shadow of climate change.

There are several places in At Work in the Ruins where I draw on what I learned in that process, but the passage that people have told me they find themselves returning to and using with students or in their own practice comes from part three of the book.

<blockquote>When artists are brought into projects about climate change, the assumption tends to be that they will make something that helps ‘deliver the message’. A poem, a play, a film, a pop song that will wake people up to the depth of the trouble we are in, that will stir people to action or bring about ‘behaviour change’. If this invitation is accepted, the result is usually a failure – both as art and as message delivery – because this is not how art works. As the Swedish playwright Anders Duus put it to me, ‘Our job is to complicate matters.’ Not to be difficult for the sake of it but to do justice to the strangeness and the messiness of life in a world like this, and to create the kind of space in which stories come alive. None of which is helpful if what you are looking for is a tool to get across a message. Art is not a cheap alternative to an advertising agency or a sophisticated extension of the communications department, and the urgency of the message doesn’t change this.

This doesn’t mean art can go on as if it doesn’t know, ignoring the smoke that drifts through the open window of the studio, pretending that the world is not on fire. In the conversations that led to the Dark Mountain manifesto, I remember a sense that those who came after us would look back on the art being made in our time with disbelief: how could we have made this stuff, given what we already knew about the trouble we were in?

There’s no single answer to the question of what art should do under the shadow of climate change – and besides, anything that’s worth the name of art is allergic to words like ‘should’. It takes a subtler kind of dialogue, an indirect approach, to stumble on the places where the work of art comes alive. Still, over the years, I began to gather a list of possibilities worth exploring. If our job is to complicate matters, then we could start with whatever seems to be getting taken for granted. Take this urge to get the message across. Is it really the case that people don’t have enough information about climate change? Or is it that we struggle to make sense of what this information means, to fit it into the frames we use to make sense of our lives? Art is not an information technology but it does have a knack of drawing our attention to these frames, bringing them into question, suggesting the possibility of other framings. In its attention to whatever is missing or taken for granted, art can lead us upstream.</blockquote>

This is as far as I take it in the book, but in an earlier essay I offered an unfinished list of the roles that art might play, picking up from the same line of thought:

<blockquote>1. Art can hold a space in which we move from the arm’s-length knowledge of facts, figures and projections, to the kind of knowledge that we let inside us, taking the risk that it may change us.

2. Art can give us just enough beauty to stay with the darkness, rather than flee or shut down.

3. Like the bronze shield given to Perseus by Athena, art and its indirect ways of knowing can allow us to approach realities which, if looked at directly, turn something inside us to stone.

4. Art can call us back from strategic calculations about which message will play best with which target group, insisting on the tricky need for honesty – there’s a line I kept coming back to, from the playwright Mark Ravenhill, that your responsibility when you walk on stage is to be ‘the most truthful person in the room’.

5. Art can teach us to live with uncertainty, to let go of our dreams of control.

6. Art can hold open a space of ambiguity, refusing the binary choices with which we are often presented – not least, the choice between forced optimism and simple despair.</blockquote>

I hope that At Work in the Ruins itself plays some of these roles for readers, in as much as it is possible to do so within the covers of a book. And I’m hugely grateful to Måns for his trust in bringing me to work with him at Riksteatern and to all the artists I got to work with during those two years."
]]></description>
<dc:subject>dougaldhine art climatechange 2024 uncertainty responsibility ads advertising knowing beauty darkness knowledge facts information andersuus</dc:subject>
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<item rdf:about="https://monthlyreview.org/2011/03/01/the-internets-unholy-marriage-to-capitalism/">
    <title>Monthly Review | The Internet’s Unholy Marriage to Capitalism</title>
    <dc:date>2024-06-22T06:09:19+00:00</dc:date>
    <link>https://monthlyreview.org/2011/03/01/the-internets-unholy-marriage-to-capitalism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Communication is more than an ordinary market. Indeed, it is properly not a market at all. It is more like air or water—a form of public wealth, a commons. When Aristotle said that human beings were “social animals,” he might just as well have said that we are communicative animals. We know that the human brain coevolved with language (a social characteristic).63 The development of social relations and democratic forms, as well as science, culture, etc., are all communicative. The rise of the Internet as a form of free communication, seemingly without limits, thus raises the prospect of vast new realms of human sociability and enhanced democratic possibilities. Yet, rather than a means of expanding human sociability, the Internet is being turned into the opposite: a new means of alienation. There is nothing natural in this process; at bottom it remains a social choice.

The moral of the story is clear. People in the United States and worldwide must redouble their efforts to address the paradox of the Internet at all levels of the analysis presented herein. The outcome is far from certain, and the issues are still very much in play. A global network of resistance is both necessary and feasible. Indeed, in view of the nature of the Internet and the stakes involved, it seems fair to say that these issues will only become more encompassing in coming years. How this battle plays out will go a long way toward determining our future as social animals."]]></description>
<dc:subject>johnbellamyfoster robertmcchesney 2011 capitalism internet advertising web online communication society resistance paradox sociability social democracy culture</dc:subject>
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<item rdf:about="https://thebluescholar.substack.com/p/the-tower-of-apple">
    <title>The Tower of Apple - by Nate Marshall - The Blue Scholar</title>
    <dc:date>2024-06-14T19:38:27+00:00</dc:date>
    <link>https://thebluescholar.substack.com/p/the-tower-of-apple</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>natemarshall 2024 apple crushaddebacle omnipotence community towerofbabel babel bible byung-chulhan non-things self-referentiality availability samsungm ipad ipadpro ads advertising technology creation creativity humans humanism manipulation tools ivanillich context melvinkarnzberg lynnwhitejr historyoftechnology history society stephendeyoung andrewstephendamick alastairroberts andrewmcluhan</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2024/05/06/the-battle-for-attention">
    <title>The Battle for Attention | The New Yorker</title>
    <dc:date>2024-06-04T17:03:42+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2024/05/06/the-battle-for-attention</link>
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<item rdf:about="https://www.thelineanimation.com/work/chobani">
    <title>Chobani Dear Alice 2D animation commercial | Chobani | The Line Animation</title>
    <dc:date>2024-06-01T17:21:11+00:00</dc:date>
    <link>https://www.thelineanimation.com/work/chobani</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""DEAR ALICE"
What if we created a future for ourselves that was full of optimism and positivity? This was the starting point for our new 2D animated commercial piece for Chobani. “Dear Alice” is a love letter from a grandmother to a granddaughter and an optimistic vision of the future of farming. It’s a nostalgic look towards a new era of agriculture, with beautifully crafted backgrounds, delicate animation and a completely unique score by long-time Ghibli composer (and absolute legend) Joe Hisaishi. (Yeah, we can’t believe this happened either).

We worked closely with Chobani to realise their vision of a world worth fighting for. It’s not a perfect utopia, but a version of a future we can all reach if we just decide to put in the work.

We love the aspiration in Chobani’s vision of the future and hope it will sow the seeds of optimism and feed our imagination for what the future could be. It’s a vision we can totally get behind. We couldn’t be more happy to be part of this campaign."

[Vimeo:
https://vimeo.com/571724525

Youtube:
https://www.youtube.com/watch?v=z-Ng5ZvrDm4

See also:

"Solarpunk Part 1 — More Than Just a Yogurt Commercial?" (Leonardo Marchetti)
https://medium.com/climate-insight/solarpunk-part-1-more-than-just-a-yogurt-commercial-871e0786ab74

"Chobani Yogurt Goes Solarpunk
It may be a yogurt ad, but it’s still a future I wouldn’t mind living in."
https://opus.ing/posts/chobani-yogurt-goes-solarpunk

"I want to live in a yogurt commercial"
https://www.reddit.com/r/solarpunk/comments/11vocty/i_want_to_live_in_a_yogurt_commercial/

"'Dear Alice' Decommodified Edition | Solarpunk anime ambience with no ads"
https://www.youtube.com/watch?v=UqJJktxCY9U

"The solarpunk-inspired 'Dear Alice' commercial produced by the animation company The Line for Chobani is one of the most beautiful depictions of an ecological future I had seen, except for one glaring thing: it was an advertisement for a dairy company, and my solarpunk vision doesn't have either of those things. Neither is compatible with the 'degrowth' economic model outlined by people like Jason Hickel, not with the ethic of an ecological society described by social ecologists like Murray Bookchin.

In light of that fatal flaw I decided to paint out all of the branding and recreated the sound design so that solarpunks like myself can enjoy this beautiful world without having to invite the ugliness of capitalism into it. Enjoy!"]]]></description>
<dc:subject>solarpunk animation ads advertising chobani yogurt leonardomarchetti 2024 2023 theline futurism environment ecosystems neom</dc:subject>
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<item rdf:about="https://freakonomics.com/podcast/how-does-the-lost-world-of-vienna-still-shape-our-lives/">
    <title>How Does the Lost World of Vienna Still Shape Our Lives? - Freakonomics</title>
    <dc:date>2024-05-28T05:43:22+00:00</dc:date>
    <link>https://freakonomics.com/podcast/how-does-the-lost-world-of-vienna-still-shape-our-lives/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From politics and economics to psychology and the arts, many of the modern ideas we take for granted emerged a century ago from a single European capital. In this episode of the Freakonomics Radio Book Club, the historian Richard Cockett explores all those ideas — and how the arrival of fascism can ruin in a few years what took generations to build."

[See also:

Vienna: How the City of Ideas Created the Modern World, by Richard Cockett (2023)
https://yalebooks.co.uk/book/9780300266535/vienna/

"How can one European capital be responsible for most of the West’s intellectual and cultural achievements in the twentieth century?
 
Viennese ideas saturate the modern world. From California architecture to Hollywood Westerns, modern advertising to shopping malls, orgasms to gender confirmation surgery, nuclear fission to fitted kitchens—every aspect of our history, science, and culture is in some way shaped by Vienna.
 
The city of Freud, Wittgenstein, Mahler, and Klimt was the melting pot at the heart of a vast metropolitan empire. But with the Second World War and the rise of fascism, the dazzling coteries of thinkers who squabbled, debated, and called Vienna home dispersed across the world, where their ideas continued to have profound impact.
 
Richard Cockett gives us the entirety of this extraordinary story. Tracing Vienna’s rich intellectual history from psychoanalysis to Reaganomics, Cockett encompasses everything from the communist rebels of Red Vienna to the neoliberal economists of the Austrian School. This is the panoramic account of how one city made the modern world—and how we all remain inescapably Viennese."]

[via the CW&T newsletter:

"Late last Thursday night, Che-Wei was on a train to Boston and he texted me "we should figure out how to argue better". I texted back "sure, but please first more context".

He then sent over one of the latest Freakonomics podcasts, How Does the Lost World of Vienna Still Shape Our Lives? In this episode Stephen Dubner chats with Richard Crockett about his recent book Vienna : How the city of ideas created the modern world. The part about arguing only comes at the very end. But it left me yearning to learn more about Vienna. Also, Dubner boasts that Crockett's book was one of those rare, lucky reads that happen only once or twice a year that you can't stop thinking about.

Early in the book, Crockett talks about the concept Bildung, an idea coined by Prussian philospher + education administrator Willhelm von Humboldt (1767-1835) where people prioritize and value lifelong learning and curiosity, as opposed to class and money. In the late 1800s, Vienna was very much a city of immigrants, and the people who lived there formed very strong connections with these ideas. He then goes on to talk about how these values were cultivated and shaped society.

I'm not going to re-tell the whole book, but aside from establishing access to free standardized, multidisciplinary education for men and woman ages 6-14, being a hobbyist, tinkerer, having interest in the arts or philosophy was very much ingrained in everyday life. Part of this had to do with the cafe culture, but also the architecture of middle class homes. These were very well suited with spaces to not only host gatherings, but to have workshops, or even terrariums/animal/insect habitats. It was common for groups of friends to gather at homes and for fun attempt to replicate some of the latest experiments published in scientific journals, or for young kids to raise and study insects or animals.

We all know how the story ends (not good). And even though I haven't finished the book, I can't stop thinking about that world, its loss and wondering about what parts of it remain and can be cultivated."]]]></description>
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<item rdf:about="https://quillandpad.com/2015/10/09/how-does-nomos-glashutte-make-a-beautiful-watch-with-manufacture-movement-for-under-3000/">
    <title>How Does Nomos Glashütte Make A Beautiful Watch With Manufacture Movement For Under $3,000? - Quill &amp; Pad</title>
    <dc:date>2024-05-27T19:03:58+00:00</dc:date>
    <link>https://quillandpad.com/2015/10/09/how-does-nomos-glashutte-make-a-beautiful-watch-with-manufacture-movement-for-under-3000/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I was recently embroiled in a long and interesting conversation in Switzerland. The topic of this conversation, which occurred before the introduction of the Nomos Glashütte Neomatik, was: how can Nomos Glashütte make a watch with a manufacture movement for about €1,000 when – with the exception of perhaps the Swatch Group, a conglomerate that owns close to 200 companies – Swiss brands can’t?

The entry-level price at Nomos Glashütte is exactly €1,080 for the Club, a 36 mm stainless wristwatch with a hand-winding manufacture movement (Caliber Alpha) designed and made in-house. Yes, that’s right, an in-house manufacture hand-winding movement for under $1,500.

And let me also be very, very clear about the origin of Nomos Glashütte’s components: they are either made on premises, sourced in Germany, or sourced in Switzerland (such as the case and hands).

I know, you don’t have to ask me . . . how can this be possible?

Well, it is. And Nomos Glashütte proves it. I asked managing director Uwe Ahrendt to explain some of the details of this feat to me.

Start high, work down low?

Ahrendt patiently listens to my question, chuckling a little to himself as he does. We have known each other for close to two decades now. He knows I have seen Nomos Glashütte grow from a three-man operation to the full-fledged watch company employing almost 300 people it has become. He knows I can probably figure the answer out, yet he indulges me.

“Very often we have international retailers, but also end consumers, who don’t believe us when we say we make everything ourselves. And as strange as this may sound, if I put our Lambda or Lux down on the table first and tell them this is a manufacture product, he or she will believe much faster that the Club and Tangente models are also manufacture products. It’s crazy, but it’s true.”

In case you’re unaware, the Lux and Lambda models constitute Nomos Glashütte’s luxury line. After more than 20 years in business, in 2013 these two timepieces were not only among the first to be encased in gold, they were also the very first radical departures from the classic Bauhaus design Nomos laid down in 1990 with the four original models Tangente, Tetra, Orion, and Ludwig (all of which are still in the collection today).

The differentiated appearances of the Lux and Lambda are luxurious, as are the manufacture movements that tick within with their finely finished and unconventional design: Caliber DUW 1001 in the Lambda, and Caliber DUW 2002 in the polarizing, tonneau-like Lux. DUW, by the way, stands for “Deutsche Uhrenwerke” (“German watch manufacture”) and alludes to Glashütte’s powerful past in terms of movement manufacturing capability.

The Lux model retails for between €13,400 and €14,800, while Lambda sells for between €11,800 and €13,800.

So where’s the magic?

The relatively complicated answer lies in the sum of many factors.

“For one, wages are lower here than in Switzerland,” Ahrendt begins. “Another is that we probably have a shallower (profit-margin) calculation than the Swiss – because, I would say, we are content with less and therefore have less impact from material and other costs.”

“We also trim the fat,” Ahrendt continues. “Our marketing and sales force is manageable, which is also reflected in our calculations. Our administration, marketing, and so on are all accomplished in-house.”

Some time ago, Nomos Glashütte founded a second office in Berlin with about 30 employees, which is called Berliner Blau. “There we have our own designers and employees who book our advertising, make our marketing plans, and think up our campaigns. We do not employ expensive agencies. Berliner Blau is at least as ‘verticalized’ as our production.”

If you have paid attention to the advertising, marketing, and printed literature that Nomos Glashütte puts out, you would know that there is hardly a more cohesive and interesting set of visuals in the watch world.

No matter which way you look, the “little” brand’s corporate image is not only immaculate, but interesting, eye-catching, and fully reflective of the brand’s personality. That is yet another advantage of creating these equally-as-essential elements in-house.

And not to mention the website, which now includes e-tailing; Nomos is not readily available all over the world in retail shops, though it is exported into 40 countries, so online sales became a must in an increasingly globalized world market. As an aside, Ahrendt points to the United States as the biggest market for Internet sales. Berliner Blau also employs in-house developers and native speakers of English to ensure that the website, press materials, and any other printed literature are as close to perfect as possible – and flexibly so.

“What we have in Glashütte in terms of watchmakers, engineers, salespeople, mechanics, and toolmakers is the equivalent of what we have in Berlin in terms of graphic artists, journalists, programmers, and social media experts,” Ahrendt confirms. “These two locations cross-fertilize if you will.”

Comparisons

“But what I believe is perhaps an important element [with regard to your question] is that we orient ourselves less on what our neighbors [A. Lange & Söhne, Glashütte Original, Moritz Grossmann, and Tutima Glashütte] are doing in terms of production methods, but rather on perhaps the auto industry. Or even ETA and Rolex in Switzerland.”

So now we get to the meat of it: Nomos Glashütte sees itself in a more industrial than luxury light.

“And we don’t have a lot of different movements; we have very few that we produce in high numbers. And we have produced these for many, many years. We have certainly manufactured a few hundred thousand of our Alpha caliber, and the experiences in quality, cost-saving measures, and technology that we have gained in doing so – whether it’s milling, cutting teeth, CNC, or assembly – naturally flows in.”

“And we ‘industrialize’ where it makes sense to do so,” Ahrendt continues. “Like Rolex or ETA also do. With automatic bench systems, automatic oiling, automatic measuring, and even automatic regulation. And I think that these measures all add up.”

Automatic Caliber DUW 3001

We learned about Nomos Glashütte’s brand-new automatic Caliber DUW 3001 in Nomos Glashütte Neomatik: A Sensibly Priced, Efficient, Fashionable, And Mechanically Sound Tribute To The Past And Future Of Glashütte.

While the Nomos Club outfitted with the Alpha caliber retails at €1,080, the new Neomatic line powered by automatic Caliber DUW 3001 is somewhat more expensive, with a starting price of €2,520 in the Neomatik Ludwig. Why the jump?

For one, the difference between manual winding and automatic. When you stop to consider that, there should be no further questions. Yet, Ahrendt has a few more answers.

“What we have here is a totally modern, completely freshly designed manufacture caliber only 3.2 mm in height,” says Ahrendt.

“Regarding Caliber DUW 3001, we planned several hundred thousand pieces in our technology and production calculations,” Ahrendt continued. “All of our experience from the last 20 years has flowed into this caliber. And we succeeded in creating a new manufacture automatic movement for a watch costing between €2,500 and €2,900.”

The Swing System

Lest we forget: this caliber – and now every other caliber in the Nomos Glashütte range – also contains the Swing System (balance and escapement) introduced at Baselworld 2014 in the new Metro (see Bravo, Nomos Glashütte! Now The Metro Will Change The Watch Game).

“Many people will surely ask how we can do it [keep the price so low despite using one’s own regulator]. Well, the Swing System only uses one set of components. All our watches only use this one set of regulating components, not three, four, or five. Making a small amount of parts would have high development and tooling costs. We make one and only one. And every day we try to make it a little bit better, optimizing, increasing quality. And this is how we did it.”

“We haven’t quite gotten to Nivarox prices just yet,” Ahrendt reveals. “But the [stronger] Swiss franc has helped us this year to just about get there, and only a few little percent fractions are missing until we actually have the same price for this subassembly as Nivarox or ETA.”

So there we have it: economies of scale combined with years and years of experience in making the same product as well as intelligent solutions have allowed Nomos Glashütte to keep its prices at a humane level, at the same time granting many fans of great watchmaking the ability to find a wonderful entryway into the world of fine horology.

“Step by step, working to make a better product, not investing in testimonials and giant parties, just staying simple,” Ahrendt sums up.

Nomos Glashütte has crossed the threshold from a bit player to having the potential to become a major force; the brand is already by far the largest manufacturer of mechanical watches in Germany. And when I compare the three-room house in Glashütte that founder Roland Schwertner inhabited with his company at the beginning to the large amount of real estate and almost three hundred employees that the brand now encompasses, I realize what an amazing accomplishment this is.

Component by component and watch by watch, Schwertner, Ahrendt, and so many others in the team have worked hard to build a brand using not only their heads and their hands, but also their hearts. Nomos makes a true Glashütte product, one that I am proud to have in my own watch box."]]></description>
<dc:subject>elizabethdoerr 2015 nomos watches watchmaking glashütte germany swingsystem watchmovements switzerland manufacturing design tutima moritzgrossmann alange&amp;söhne glashütteoriginal horology nivarox rolandschwertner uweahrendt advertising marketing verticalization inhouse eta alangeandsöhne</dc:subject>
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<item rdf:about="https://coron.et/new-1minute-reads/rolex-alter-brochure-photo-gmt-master-6542">
    <title>New Discovery Shows Rolex Used to Alter Photos - Coronet - Rolex Stories</title>
    <dc:date>2024-05-23T22:54:18+00:00</dc:date>
    <link>https://coron.et/new-1minute-reads/rolex-alter-brochure-photo-gmt-master-6542</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A watch writer based in Australia has recently made an interesting discovery about a Rolex brochure. Nick Gould posted on his Instagram account on Saturday that Rolex tinkered with a picture to show a navigator in the 1950s wearing a GMT-Master while in fact he wasn't wearing one, a sign of how far the brand was willing to go to market its watches as professional tools.

Nick said he had recently stumbled upon the original photo by accident. The 1955 photo shows a navigator taking Loran readings, an early radio system used for long-range navigation. In the original photo, the man wears a white-dial watch that looks nothing like a Rolex.

The picture used by Rolex and captioned “…for pilots, ships' captains, navigators, travellers and members of the Armed Forces” shows a GMT-Master on the wrist of the navigator. Rolex seemed to have super-imposed a drawn GMT-Master 6542 on his wrist — an early method of “photoshopping,” as Nick puts it — and used the picture for the cover of the GMT-Master booklet included with the watch."]]></description>
<dc:subject>rolex marketing ads advertising photography 20241955 nickgould dannycrivello</dc:subject>
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    <title>Social History of the Cardboard Box</title>
    <dc:date>2024-05-17T01:10:43+00:00</dc:date>
    <link>https://placesjournal.org/article/social-history-of-the-cardboard-box/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cardboard Media and the Geographic Imagination"
]]></description>
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<item rdf:about="https://www.bloodinthemachine.com/p/for-artists-writers-humans-big-techs">
    <title>&quot;Crush!&quot; - by Brian Merchant - Blood in the Machine</title>
    <dc:date>2024-05-16T04:43:29+00:00</dc:date>
    <link>https://www.bloodinthemachine.com/p/for-artists-writers-humans-big-techs</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brianmerchant 2024 apple capitalism ai artificialintelligence ads advertising marketing timcook ipadpro crushaddebacle ipad creativity advon google facebook media humanity savageventures shanesmith nlrb labor work journalism stabilityai midjourney runway</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/the-stuff-of-a-well-lived-life">
    <title>The Stuff of (a Well-Lived) Life - by L. M. Sacasas</title>
    <dc:date>2024-05-16T04:42:27+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/the-stuff-of-a-well-lived-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watching the ad, I mostly thought to myself, “I’m glad Albert Borgmann, may he rest in peace, is not around to see this.” (I understand, of course, that this is not what most normal people thought as they watched the ad.) But then I thought, “I don’t know, how good might it have felt to see your whole critical philosophy of technology, first articulated in the mid-1980s, so fully vindicated by both the tech company’s unwitting admission and the negative response it triggered?”

Borgmann, who passed away just over a year ago, was a German-American philosopher of technology. In my view, which you can take with a grain of salt, he was one of the giants of the field, and he has deeply informed my own thinking and writing. On the occasion of his death, I re-published an essay I’d written years ago, which serves as a decent introduction to some of the main themes in his work. The essay was titled, “Why An Easier Life Is Not Necessarily Happier.”1

To keep us moving briskly along and focused on Apple’s implicit vision of human flourishing as conveyed in their recent ad, here are the core relevant concepts from Borgmann’s work.

In an effort to understand the dominant technological patterns of the age, Borgmann identified what he called the device paradigm. The logic of the device paradigm is pretty straightforward. It describes the tendency to hide the complex machinery of a technology below a slick, commodious surface that makes the output of a device available to the user with minimal effort. The goods a device offers its users are “rendered instantaneous, ubiquitous, safe, and easy.” “A commodity is truly available,” Borgmann writes, “when it can be enjoyed as a mere end, unencumbered by means.” Apple products have long been leading exemplars of the device paradigm.

But this is only part of the picture. Borgmann opposed devices to what he called focal things. Focal things demand something of us. They require a measure of care, practice, and engagement that devices do not. Our use of them induces our focus, which they invite by design. “The experience of a [focal] thing,” Borgmann also notes, “is always and also a bodily and social engagement with the thing’s world.” There are, in other words, embodied and communal dimensions to the use of a focal thing. They involve our bodies, and they involve us in relationships to a degree that devices do not.

Consider just one of many possible examples: musical instruments. To learn how to make music with a guitar, for example, requires time and effort. Mastery of the instrument will take a great deal of time and effort. Your body may literally be marked by the effort with calloused finger tips. But the rewards are great, too. The pleasure of making and not merely consuming music, and of sharing it with others.2 In short, focal things are characterized by the kind of engagement which they invite and sustain. Or as I’ve put elsewhere, in relation to devices we tend to be relegated to the status of user, who may more often than not be the one being used. But no one would describe a musician as a user. Yes, they use the instrument, but the richness of the relationship between the musician and their instrument demands a different term, one that signals the degree to which a skill is cultivated in relation to the focal thing. We speak of musicians, not users of musical instruments because the musician is characterized by a set of skills they have cultivated in order to make something with the instrument.

So, then, one more thing I can say for Apple’s ad is this: when explaining Borgmann’s work, I can now simply say “watch this.” The ad amounts to a compelling, visceral depiction of a device crushing an array of focal things and thus eliminating the corresponding focal practices and their attendant skills and pleasures. It is a visual depiction of the triumph of the device paradigm.

The near universal response to the ad, which was heartening, also demonstrated another of Borgmann’s core claims: our experience tends to be enriched by focal things and diminished by devices. A good life is supported by a diverse array of focal things and practices, which tend to reward us with deeper, more meaningful experiences; a gratifying measure of bodily skill and competence; and possibly even a stronger fabric of relationships. Alternatively, a life characterized merely by the consumption of virtual goods mediated through devices, and the subsequent dependence and isolation such a life necessarily entails, will not be conducive to our well-being.

Granted, it is hard to resist the promise of ease, safety, efficiency, and convenience, particularly when many of us may already be operating with some degree of burnout and exhausted by what is demanded of us to simply get by day to day. This is the trap set for us by our existing social order. When society is built to run like a machine for the optimization of profit and productivity with little regard for the constraints inherent in the embodied human condition, then we are tempted to embrace the device paradigm as a matter of survival or because we have been conditioned by the machine and have internalized its values.

The point, to be clear, is not that you and I must cook every meal from scratch or listen only to music we make for ourselves or never use a device that may facilitate the completion of certain tasks. The point is that we ought to resist any vision of the good life in which we are reduced to mere consumers of readily accessible digitally simulated goods or in which human flourishing is indexed solely to the sheer quantity of our techno-economic system’s outputs without reference to their kind and quality. Implicit in Apple’s ad is the idea that virtually unlimited access to such goods is the summum bonum of human existence.

I have the good fortune of being able to walk to a farmer’s market most Saturday mornings. Usually, some local musicians will be performing. The acts vary from young, solo artists to duos or groups of various styles and compositions. Last Saturday, I listened as an older couple, easily in their seventies if not their eighties, played and sang together. The old man played guitar and his wife played the fiddle as they sang an assortment of classic American folk songs.

I do not know their story, of course, but they appeared to be enjoying themselves and for a few moments they enriched my life. I can imagine the tale their instruments could tell, and I can imagine how much those relatively simple instruments must mean to them. Ordinarily, the user of a device is only all too ready to part with it when a newer model arrives or when it loses its novelty or functionality. The reaction to the Apple ad reminds us that focal things are not so readily parted with. They are deeply valued and even treasured.

If the Apple ad was a graphic depiction of the triumph of the device paradigm and the crushing of focal things along with the forms of life they sustain, then this couple playing their instruments together after many long years embodied the joy and satisfaction focal things and practices bring to our lives.

These appear to be the two paths presented to us: one in which the device paradigm colonizes more and more swaths of our experience and we are increasingly reduced to swiping along a glassy surface of endless content, or one in which we refuse the lure of limitless and meaningless consumption and reclaim focal things and practices along with the skills, satisfactions, and community they generate."]]></description>
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<item rdf:about="https://switchedonpop.com/episodes/fast-food-jingles-gastropod?">
    <title>Is pop music just fast food? (with Gastropod) — Switched On Pop</title>
    <dc:date>2024-05-16T04:38:05+00:00</dc:date>
    <link>https://switchedonpop.com/episodes/fast-food-jingles-gastropod?</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where were you when you learned that the McDonald's jingle "I'm lovin' it" was originally part of a full-fledged pop song by Justin Timberlake and Pharrell that flopped on the charts but found staying power as a slogan? For us, it was recording our live episode about sponsored content in pop back in March 2024, and we have not been the same since. Shaken by this revelation, we found ourselves asking, "What else don't we know about fast food jingles?"

Turns out, it's a lot. From Taco Bell to Popeye's to Chili's, the music of fast food represent some of the most familiar melodies in society, across state lines and generations. But the stories behind those songs, and the way that fast food production and pop music production often move in parallel, was something we never saw coming.

Since we are music experts but amateur foodies, we invited the brilliant hosts of Eater's Gastropod podcast, Cynthia Graber and Nicola Twilley, to help serve up the history of fast food and its changing role in culture. Tune in and pig out with us as we listen and debate the artistic and ethical implications of the sounds of fast food."]]></description>
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<item rdf:about="https://creativegood.com/blog/24/apple-tells-the-truth.html">
    <title>Creative Good: Apple made a terrible mistake: it told the truth</title>
    <dc:date>2024-05-15T21:16:50+00:00</dc:date>
    <link>https://creativegood.com/blog/24/apple-tells-the-truth.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have to give Apple credit here: the video is boldly telling us the truth. Other companies hide their true agenda, or even – if they have real competition – occasionally try to make things better for customers. But Apple’s globe-spanning monopoly gives it that walk-away scale of money and power that allows it to say – and then do – whatever it wants. For a totalizing company like Apple and the other Big Tech beasts, anything that stands in the way of the company’s dominance must be destroyed. You like playing the guitar for friends on the beach? No. Use a screen instead. You enjoy reading print books, which don’t spy on you as you read them? Not acceptable. Use a screen. Do you value being creative, or social, or just living a moment of your life off the screen? Get over it. Everything else will be destroyed. Only screens will remain.

I guess it’s like Steve Jobs always said: “We’re going to build a bicycle for the mind . . . and then we’re going to crush the bicycle in a 2-ton press, just flatten it right in front of you, so you can feel our destructive power. Take that, bicycle lovers. You all suck.”

Of course Jobs would never have said such a thing, just as he’d never have approved the “Crush” ad. But things have changed at Apple. The sheer arrogance, indeed the sadism, required to plan and execute such a campaign is indicative of the new position of the Big Tech giants. They are more than companies, now. They are acting like colonial masters."]]></description>
<dc:subject>apple markhurst ipadpro marketing ads advertising 2024 timcook destruction monopolies technology technosolutionism siliconvalley arrogance power creativity crushaddebacle ipad</dc:subject>
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