- You Shouldn’t Have to Be Good at Your Job (GEN) — "This is how the 1% justifies itself. They are not simply the best in terms of income, but in terms of humanity itself. They’re the people who get invited into the escape pods when the mega-asteroid is about to hit. They don’t want a fucking thing to do with the rest of the population and, in fact, they have exploited global economic models to suss out who deserves to be among them and who deserves to be obsolete. And, thanks to lax governments far and wide, they’re free to practice their own mass experiments in forced Darwinism. You currently have the privilege of witnessing a worm’s-eye view of this great culling. Fun, isn’t it?"
- We've spent the decade letting our tech define us. It's out of control (The Guardian) — "There is a way out, but it will mean abandoning our fear and contempt for those we have become convinced are our enemies. No one is in charge of this, and no amount of social science or monetary policy can correct for what is ultimately a spiritual deficit. We have surrendered to digital platforms that look at human individuality and variance as “noise” to be corrected, rather than signal to be cherished. Our leading technologists increasingly see human beings as a problem, and technology as the solution – and they use our behavior on their platforms as evidence of our essentially flawed nature."
- How headphones are changing the sound of music (Quartz) — "Another way headphones are changing music is in the production of bass-heavy music. Harding explains that on small speakers, like headphones or those in a laptop, low frequencies are harder to hear than when blasted from the big speakers you might encounter at a concert venue or club. If you ever wondered why the bass feels so powerful when you are out dancing, that’s why. In order for the bass to be heard well on headphones, music producers have to boost bass frequencies in the higher range, the part of the sound spectrum that small speakers handle well."
- The False Promise of Morning Routines (The Atlantic) — "Goat milk or no goat milk, the move toward ritualized morning self-care can seem like merely a palliative attempt to improve work-life balance.It makes sense to wake up 30 minutes earlier than usual because you want to fit in some yoga, an activity that you enjoy. But something sinister seems to be going on if you feel that you have to wake up 30 minutes earlier than usual to improve your well-being, so that you can also work 60 hours a week, cook dinner, run errands, and spend time with your family."
- Giant surveillance balloons are lurking at the edge of space (Ars Technica) — "The idea of a constellation of stratospheric balloons isn’t new—the US military floated the idea back in the ’90s—but technology has finally matured to the point that they’re actually possible. World View’s December launch marks the first time the company has had more than one balloon in the air at a time, if only for a few days. By the time you’re reading this, its other stratollite will have returned to the surface under a steerable parachute after nearly seven weeks in the stratosphere."
- The Unexpected Philosophy Icelanders Live By (BBC Travel) — "Maybe it makes sense, then, that in a place where people were – and still are – so often at the mercy of the weather, the land and the island’s unique geological forces, they’ve learned to give up control, leave things to fate and hope for the best. For these stoic and even-tempered Icelanders, þetta reddast is less a starry-eyed refusal to deal with problems and more an admission that sometimes you must make the best of the hand you’ve been dealt."
- What Happens When Your Career Becomes Your Whole Identity (HBR) — "While identifying closely with your career isn’t necessarily bad, it makes you vulnerable to a painful identity crisis if you burn out, get laid off, or retire. Individuals in these situations frequently suffer anxiety, depression, and despair. By claiming back some time for yourself and diversifying your activities and relationships, you can build a more balanced and robust identity in line with your values."
- Having fun is a virtue, not a guilty pleasure (Quartz) — "There are also, though, many high-status workers who can easily afford to take a break, but opt instead to toil relentlessly. Such widespread workaholism in part reflects the misguided notion that having fun is somehow an indulgence, an act of absconding from proper respectable behavior, rather than embracement of life. "
- It’s Time to Get Personal (Laura Kalbag) — "As designers and developers, it’s easy to accept the status quo. The big tech platforms already exist and are easy to use. There are so many decisions to be made as part of our work, we tend to just go with what’s popular and convenient. But those little decisions can have a big impact, especially on the people using what we build."
- The 100 Worst Ed-Tech Debacles of the Decade (Hack Education) — "Oh yes, I’m sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for “the future of education.” Good for you. But that’s not my job. (And honestly, it’s probably not your job either.)"
- Why so many Japanese children refuse to go to school (BBC News) — "Many schools in Japan control every aspect of their pupils' appearance, forcing pupils to dye their brown hair black, or not allowing pupils to wear tights or coats, even in cold weather. In some cases they even decide on the colour of pupils' underwear. "
- The real scam of ‘influencer’ (Seth Godin) — "And a bigger part is that the things you need to do to be popular (the only metric the platforms share) aren’t the things you’d be doing if you were trying to be effective, or grounded, or proud of the work you’re doing."
Serious art, influencers, and AI
This is quite the article by Rob Horning. It begins with a social media spat between an influencer and an art critic, takes a brief detour into the philosophy of modernism, and ends with a discussion of AI-produced representations of the world.
I think Horning could turn this into a short book, particularly if he considers studies which show that the historical value of artworks and the critical reception of artists' works tends to be as dependent on their ‘social networks’ and standing.
What, then, do “serious” critics expect “serious” art to do, given that it is not to make money or to provide emotional comfort or culinary enjoyment? One answer to that (and I’m deriving this from the Adorno-driven art criticism in J.M. Bernstein’s book 'Against Voluptuous Bodies') might be that art brackets off a space in which our ways of thinking and experiencing and representing the world can be tested for their continued coherence and validity. Art allows for epistemological problems to be articulated, if not solved.Source: Empire of the senseless | Internal exileAnother related answer is that art holds open a space between experience and how it is conceptualized, seeming to manifest the otherwise indescribable, ineffable aspects of experience — the stuff that resists discursivity — and assures us that such a realm (the realm of freedom, if you believe Kant) really exists. If something can be completely described, then it is subject to full, mechanized determination; it can’t be free. Proper artworks can’t be fully described or “put to use” — they can’t be exhausted by critical discourse or ordinary consumption — so they reveal freedom to us. A critic’s work, from that perspective, succeeds by failing — when its strenuously efforts to describe a piece serve to reveal its inexhaustibility, its ability to renew its meanings from some impenetrable, possibly noumenal source.
An artwork itself embodies the same paradox: It may most succeed when it “eludes and fails visual and perceptual claiming,” as Bernstein puts it in describing a piece by Jeanette Christensen. A work’s “own power of proliferating discourse” is what it both “wants and refuses” because its significance ultimately depends on manifesting and holding open the gap between what there is and what can be described (or mediated, or simulated, or reproduced, or predictively generated), the gap between words and things, between the meanings we project onto things and “things in themselves.” That is, art can make palpable what Bernstein calls an “aporia of the sensible,” which makes it a reflection our experience of the crisis of modernity: the rationalizing disenchantment of the world, the scientistic instrumentalist mode of grasping reality, the commodification of experience under the pressures of capitalism, the “all that is solid melts into air” condition.
Brand-safe influencers and the blurring of reality
Earlier this week, in a soon-to-be released episode of the Tao of WAO podcast, we were talking about the benefits and pitfalls of NGOs like Greenpeace partnering with influencers. The upside? Engaging with communities that would otherwise be hard-to-reach. The downside? Influencers can be unpredictable.
It’s somewhat inevitable, therefore, that “brand-safe” fictional influencers would emerge. As detailed in this article, not only are teams of writers creating metaverses in which several characters exist, but they’re using machine learning to allow fans/followers to “interact”.
The boundary between the real and fictional is only going to get more blurred.
FourFront is part of a larger wave of tech startups devoted to, as aspiring Zuckerbergs like to say, building the metaverse, which can loosely be defined as “the internet” but is more specifically the interconnected, augmented reality virtual space that real people share. It’s an undoubtedly intriguing concept for people with a stake in the future of technology and entertainment, which is to say, the entirety of culture. It’s also a bit of an ethical minefield: Isn’t the internet already full of enough real-seeming content that is a) not real and b) ultimately an effort to make money? Are the characters exploiting the sympathies of well-meaning or media illiterate audiences? Maybe!Source: What’s the deal with fictional influencers? | VoxOn the other hand, there’s something sort of darkly refreshing about an influencer “openly” being created by a room of professional writers whose job is to create the most likable and interesting social media users possible. Influencers already have to walk the delicate line between aspirational and inauthentic, to attract new followers without alienating existing fans, to use their voice for change while remaining “brand-safe.” The job has always been a performance; it’s just that now that performance can be convincingly replicated by a team of writers and a willing actor.
Friday fertilisations
I've read so much stuff over the past couple of months that it's been a real job whittling down these links. In the end I gave up and shared a few more than usual!
Image via Kottke.org
Insidious Instagram influencers?
There seems to a lot of pushback at the moment against the kind of lifestyle that’s a direct result of the Silicon Valley mindset. People are rejecting everything from the Instagram ‘influencer’ approach to life to the ‘techbro’-style crazy working hours.
This week saw Basecamp, a company that prides itself on the work/life balance of its employees and on rejecting venture capital, publish another book. You can guess at what it focuses on from its title, It doesn’t have to be crazy at work. I’ve enjoyed and have recommended their previous books (as ‘37 Signals’), and am looking forward to reading this latest one.
Alongside that book, I’ve seen three articles that, to me at least, are all related to the same underlying issues. The first comes from Simone Stolzoff who writes in Quartz at Work that we’re no longer quite sure what we’re working for:
Part of this lack of work/life balance comes from our inability these days to simply have hobbies, or interests, or do anything just for the sake of it. As Tim Wu points out in The New York Times, it's all linked some kind of existential issue around identity:Before I became a journalist, I worked in an office with hot breakfast in the mornings and yoga in the evenings. I was #blessed. But I would reflect on certain weeks—after a string of days where I was lured in before 8am and stayed until well after sunset—like a driver on the highway who can’t remember the last five miles of road. My life had become my work. And my work had become a series of rinse-and-repeat days that started to feel indistinguishable from one another.
If you’re a jogger, it is no longer enough to cruise around the block; you’re training for the next marathon. If you’re a painter, you are no longer passing a pleasant afternoon, just you, your watercolors and your water lilies; you are trying to land a gallery show or at least garner a respectable social media following. When your identity is linked to your hobby — you’re a yogi, a surfer, a rock climber — you’d better be good at it, or else who are you?To me, this is inextricably linked to George Monbiot's recent piece in The Guardian about about the problem of actors being interviewed about the world's issues disproportionately more often than anybody else. As a result, we're rewarding those people who look like they know what they're talking about with our collective attention, rather than those who actually do. Monbiot concludes:
The task of all citizens is to understand what we are seeing. The world as portrayed is not the world as it is. The personification of complex issues confuses and misdirects us, ensuring that we struggle to comprehend and respond to our predicaments. This, it seems, is often the point.There's always been a difference between appearance and reality in public life. However, previously, at least they seem to have been two faces of the same coin. These days, our working lives as well as our public lives seem to be
Sources: Basecamp / Quartz at Work / The New York Times / The Guardian