opening notion or obsidian feels less like launching software and more like putting on your favorite jacket. it says something about you. aligns you with a tribe, becomes part of your identity. software isn’t just functional anymore. it’s quietly turned into a lifestyle brand, a digital prosthetic we use to signal who we are, or who we wish we were.

somewhere along the way, software stopped being invisible. it started meaning things. your browser, your calendar, your to-do list, these are not just tools anymore. they are taste. alignment. self-expression.

suddenly your app stack said something about you. not in a loud, obvious way but like the kind of shoes you wear when you don’t want people to notice, but still want them to know. margiela replica. new balance 992. arcteryx. stuff that whispers instead of shouts, it’s all about signaling to the right people.

notion might be one of the most unopinionated tools out there. you can build practically anything with it. databases, journals, dashboards, even websites. but for a tool so open-ended, it’s surprisingly curated. only three fonts, ten colors.

if notion is a sleek apartment in seoul, obsidian is a cluttered home lab. markdown files. local folders. keyboard shortcuts. graph views. it doesn’t care how it looks, it cares that it works. it’s functional first, aesthetic maybe never. there’s no onboarding flow, no emoji illustrations, no soft gradients telling you everything’s going to be okay. just an empty vault and the quiet suggestion: you figure it out. obsidian is built for tinkerers. not in the modern, drag and drop sense but in the old way. the “i wanna see how this thing works under the hood way”. it’s a tool that rewards curiosity and exploration. everything in obsidian feels like it was made by someone who didn’t just want to take notes, they wanted to build the system that takes notes. it’s messy, it’s endless, and that’s the point. it’s a playground for people who believe that the best tools are the ones you shape yourself.

notion is for people who want a beautiful space to live in, obsidian is for people who want to wire the whole building from scratch. both offer freedom, but one is curated and the other is raw. obsidian and notion don’t just attract different users. they attract different lifestyles.

the whole obsidian ecosystem runs on a kind of quiet technical fluency.

the fact that people think obsidian is open source matters more than whether it actually is. because open source, in this context, isn’t just a licence, it’s a vibe. it signals independence. self-reliance. a kind of technical purity. using obsidian says: i care about local files. i care about control. i care enough to make things harder on myself. and that is a lifestyle.

now, there’s a “premium” version of everything. superhuman for email. cron (i don’t wanna call it notion calendar) for calendars. arc for browsing. raycast for spotlight. even perplexity, somehow, for search.

these apps aren’t solving new problems. they’re solving old ones with better fonts. tighter animations, cleaner onboarding. they’re selling taste.

chrome gets the job done, but arc gets you. the onboarding feels like a guided meditation. it’s not about speed or performance. it’s about posture.

arc makes you learn new gestures. it hides familiar things. it’s not trying to be invisible, it wants to be felt. same with linear. same with superhuman. these apps add friction on purpose. like doc martens or raw denim that needs breaking in.

linear even has a “work with linear” page, a curated list of companies that use their tool. it’s a perfect example of companies not just acknowledging their lifestyle brand status, but actively leaning into it as a recruiting and signaling mechanism.

A hundred years ago, when image creation and distribution was more constrained, commerce was arranged by class. You can conceive of it as a vertical model, with high and low culture, and magazines and product catalogs that represent each class segment. Different aspirational images are shown to consumers, and each segment aspires upward to the higher level.

The world we live in is no longer dominated by a single class hierarchy. Today you have art, sport, travel, climbing, camping, photography, football, skate, gamer.

Class still exists, but there’s no longer just one aesthetic per class. Instead, “class” is expressed merely by price points that exist within consumer subcultural categories

In the starter pack meme, classes of people are identified through oblique subcultural references and products they are likely to consume. Starter pack memes reverse engineer the demographic profile: people are composites of products they and similar people have purchased, identified through credit card data and internet browsing behavior tracked across the web. While Reddit communities for gear were self-organizing consumer subcultures from one direction, companies and ad networks were working toward the same goal from the other direction.

API-ification has happened across the entire supply chain. Companies like CA.LA let you spin up up a fashion line as fast as you’d spin up a new Digital Ocean droplet, whether you’re A$AP Ferg or hyped NYC brand Vaquera. Across the board, brands and middleware were opening new supply chains, which then became accessible entrepreneurs targeting all sorts of subcultural plays. And with Shopify, Squarespace, and Stripe, you can open an online store and accept payments in minutes. Once the goods are readily available, everything becomes a distribution problem—a matter of finding a target demographic and making products legible to it.

Products begin their life as an unbranded commodities made in foreign factories; they pass through a series of outsourced relationships —brand designers, content creators, and influencers—which construct a cultural identity for the good; in the final phase, the product ends up in a shoppable social media post

way: in the cultural production service economy, all culture is made in service of for-profit brands, at every scale and size.

European and American commentators of all political stripes recognize the current cultural moment as one that is stuck in some way. Endless remakes and reboots, endless franchises, cinematic universes, and now metaverses filled with brands who talk to each other; a culture of nostalgia with no real macro narrative

Beyond our workplaces, what else is stepping in to provide a sense of community and belonging?

All in all, product marketing businesses can only do so much to situate their goods in these broader cultural worlds without eating into their margins. This seemingly insurmountable gap is what my workshops were trying to address. But what would it mean for brands to stop pointing to culture, and to start being it?

Culture is a process, with the end result of shaping human minds.

Today, social media has become a more perfect tool for culture than Arnold could have imagined, and its use a science of penetrating the mass mind. All communication now approaches propaganda, and language itself has become somebody else’s agenda. Little

When you bought Bitcoin and Ether, it’s with the knowledge that there was also a culture there to become part of. Now years later, there are many tribes to “buy into,” from Bitcoin Christians to Bitcoin carnivores, from Ethereum permissionless free market maxis to Ethereum self-organizing collective decentralized coop radicals. Even if none of these appeal to you, you still end up becoming what “the space” (crypto’s collective term for itself) calls a “crypto person.” The creation of more and more “crypto people” is driven by the new revenue model cryptocurrencies exhibit. The business logic of these tokens is “number go up,” a feat accomplished by getting as many people to buy the token as possible. In other words, the upside opportunity is achieved with mass distribution of Bitcoin and Ethereum culture—the expansion of what it means to be an ETH holder into new arenas and practices. Buyers become evangelists, who are incentivized to promote their version of the subculture.

In the 2010s, supply chain innovation opened up lifestyle brands. In the 2020s, financial mechanism innovation is opening up the space for incentivized ideologies, networked publics, and co-owned faiths.

Under CPSE models, companies brand products. They point to subcultures to justify the products’ existence, and use data marketing to sort people into starterpack-like demographics. Subcultures become consumerized subcultures, composed of products

Authenticity, I came to understand, was more than a culture of irony and suspicion of everything commercial culture has to offer. It drew on a deep moral source that runs through our culture, a stance of self-definition, a stance of caring deeply about the value of individuality.