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Niche InternetWhen TikTok Therapy Is More Lucrative Than Seeing Patients
Before explaining “3 Ways Past Trauma Can Show Up in Your Present” or “5 Signs of a Highly Sensitive Person,” Dr. Julie will use a visual hook — she’ll pour out a bucket of candy, flip over a giant hourglass, or pose next to a tantalizingly tall stack of dominos (like any skilled content creator, she knows not to give us the final knockdown until at least halfway through) to keep you watching. Does it matter that “high-functioning depression” and “highly sensitive person” aren’t actual diagnoses? Maybe. Or maybe not.
While most full-time therapists whose rates are set by insurance companies max out at around $100,000 per year, therapists who are full- or part-time content creators can make much, much more. @TherapyJeff, real name Jeff Guenther, an individual and couples therapist in Portland, Oregon, says he can make eight or nine times that amount on social media in the form of brand deals, merch, and direct subscriptions. When I clarify whether he’s making nearly a million dollars, he says, “It’s been an especially good year.”
What works on the app is simple, visually arresting videos that make you feel like they landed in your lap with a kind of cosmic destiny (the comments on these videos often repeat some version of “my For You page really said ‘FOR YOU.’”)
Therapists do cute little dances next to cute little graphics about what it’s like to have both ADHD and PMDD; they’ll lip sync to trending songs in videos about how to spot a depressed client who might have made a suicide plan; they’ll hop onto memes as a way to criticize parents who haven’t gone to therapy.
The most successful TikTok counselors don’t typically advertise their one-on-one therapy services; instead, they’ll sell products that establish themselves as mental-health experts but have the potential to net influencer-size salaries.
“I have been accused of being a toxic validator,” he admits. “Like, imagine that your ex-boyfriend is watching my content. Somebody might be coming across, like, a piece of my content that they can use in order to feel better about themselves, even when they should probably actually be doing some work and taking accountability.” But ultimately, who TikTok shows his videos to isn’t in his control.
Even if viewers know watching therapy content isn’t the same thing as actually going to therapy, when a professional therapist comes up on your feed to tell you exactly what you most want to hear at a time when you’re most in need of hearing it — that you are good, that you will be okay, and also here’s a cute little visual hook — you’ll keep watching.
The New Generation of Online Culture Curators
Guided by their own cultivated sense of taste, they bring their audiences news and insights in a particular cultural area, whether it’s fashion, books, music, food, or film.Perhaps the best way to think of these guides is as curators; like a museum curator pulling works together for an exhibition, they organize the avalanche of online content into something coherent and comprehensible, restoring missing context and building narratives. They highlight valuable things that we less-expert Internet surfers are likely to miss.
Andrea Hernández, the proprietor of Snaxshot, a newsletter and social-media account dedicated to “curating the food and beverage space,” told me recently, “Curation is about being able to filter the noise.” (I follow Hernández for her skill at discovering the wildest examples of direct-to-consumer drinks startups, such as Feisty, a purveyor of “protein soda.”) She continued, “I go out and I scour through the Internet and I come to you with my offerings.” Unlike a museum curator, however, the digital personalities I have taken to following also become the faces of their work, broadcasting recordings of themselves, on TikTok and Instagram, as a way of building a trusting relationship with their followers.
One such curator is Derrick Gee, a former online radio d.j. who lives in Australia. I first encountered Gee on TikTok and was pulled in by his architect-ish look: thin wireframe glasses and stylishly baggy, often monochrome outfits. He records videos of himself talking into a microphone in a low, soothing voice, breaking down trends in contemporary pop music and reviewing high-end audio equipment.
Laura Reilly, who lives in Brooklyn, runs a newsletter and an Instagram account called Magasin (the French word for “store”), which she launched in 2021. Now with more than twenty-eight thousand subscribers, Magasin touts itself with the tagline “It’s a store. It’s a magazine. (It’s a fashion shopping newsletter.)” But it goes beyond simple recommendations, championing lesser-known brands—the provider of earthy, upscale basics Studio Nicholson; the knitwear maker Lauren Manoogian—and often interrogating the act of shopping itself. “The more you learn about a brand,” Reilly told me, “the longer you’re going to hold on to those pieces.” In other words, her informative posts are an antidote to fast fashion.
In a previous era of the Internet, we might have thought of figures like these simply as influencers, whose ability to attract large followings online gives them a power that sometimes surpasses that of traditional publications. But the idea of an influencer has, as Reilly put it, become “a little flattened over time,” connoting shallow, uninformed, even misleading content dictated by sponsors. “There’s a distinction between influencing and what I do,” Reilly insisted. The archetypal influencer produces life-style porn of one form or another, playing up the aspirational glamour of their own home or meals or vacations. The new wave of curators is more outward-looking, borrowing from the influencer’s playbook and piggybacking on social media’s intimate interaction with followers in order to address a body of culture beyond themselves.
Digital platforms are largely devoted to making users consume more, faster—think of TikTok’s frenetic “For You” feed or Spotify’s automated playlists. Curators slow down the unending scroll and provide their followers with a way of savoring culture, rather than just inhaling it, developing a sense of appreciation.
Shop Class as Soulcraft
Summary: Skilled manual labor entails a systematic encounter with the material world that can enrich one's intellectual and spiritual life. The degradation of work in both blue-collar and white-collar professions is driven not just by technological progress, but by the separation of thinking from doing according to the dictates of capital. To realize the full potential of human flourishing, we must reckon with the appeal of skilled manual work and question the assumptions that shape our educational priorities and notions of a good life.
an engineering culture has developed in recent years in which the object is to “hide the works,” rendering the artifacts we use unintelligible to direct inspection. Lift the hood on some cars now (especially German ones), and the engine appears a bit like the shimmering, featureless obelisk that so enthralled the cavemen in the opening scene of the movie 2001: A Space Odyssey. Essentially, there is another hood under the hood.
What ordinary people once made, they buy; and what they once fixed for themselves, they replace entirely or hire an expert to repair, whose expert fix often involves installing a pre-made replacement part.
So perhaps the time is ripe for reconsideration of an ideal that has fallen out of favor: manual competence, and the stance it entails toward the built, material world. Neither as workers nor as consumers are we much called upon to exercise such competence, most of us anyway, and merely to recommend its cultivation is to risk the scorn of those who take themselves to be the most hard-headed: the hard-headed economist will point out the opportunity costs of making what can be bought, and the hard-headed educator will say that it is irresponsible to educate the young for the trades, which are somehow identified as the jobs of the past.
It was an experience of agency and competence. The effects of my work were visible for all to see, so my competence was real for others as well; it had a social currency. The well-founded pride of the tradesman is far from the gratuitous “self-esteem” that educators would impart to students, as though by magic.
Skilled manual labor entails a systematic encounter with the material world, precisely the kind of encounter that gives rise to natural science. From its earliest practice, craft knowledge has entailed knowledge of the “ways” of one’s materials — that is, knowledge of their nature, acquired through disciplined perception and a systematic approach to problems.
Because craftsmanship refers to objective standards that do not issue from the self and its desires, it poses a challenge to the ethic of consumerism, as the sociologist Richard Sennett has recently argued. The craftsman is proud of what he has made, and cherishes it, while the consumer discards things that are perfectly serviceable in his restless pursuit of the new.
The central culprit in Braverman’s account is “scientific management,” which “enters the workplace not as the representative of science, but as the representative of management masquerading in the trappings of science.” The tenets of scientific management were given their first and frankest articulation by Frederick Winslow Taylor
Scattered craft knowledge is concentrated in the hands of the employer, then doled out again to workers in the form of minute instructions needed to perform some part of what is now a work process. This process replaces what was previously an integral activity, rooted in craft tradition and experience, animated by the worker’s own mental image of, and intention toward, the finished product. Thus, according to Taylor, “All possible brain work should be removed from the shop and centered in the planning or lay-out department.” It is a mistake to suppose that the primary purpose of this partition is to render the work process more efficient. It may or may not result in extracting more value from a given unit of labor time. The concern is rather with labor cost. Once the cognitive aspects of the job are located in a separate management class, or better yet in a process that, once designed, requires no ongoing judgment or deliberation, skilled workers can be replaced with unskilled workers at a lower rate of pay.
the “jobs of the future” rhetoric surrounding the eagerness to end shop class and get every warm body into college, thence into a cubicle, implicitly assumes that we are heading to a “post-industrial” economy in which everyone will deal only in abstractions. Yet trafficking in abstractions is not the same as thinking. White collar professions, too, are subject to routinization and degradation, proceeding by the same process as befell manual fabrication a hundred years ago: the cognitive elements of the job are appropriated from professionals, instantiated in a system or process, and then handed back to a new class of workers — clerks — who replace the professionals. If genuine knowledge work is not growing but actually shrinking, because it is coming to be concentrated in an ever-smaller elite, this has implications for the vocational advice that students ought to receive.
The trades are then a natural home for anyone who would live by his own powers, free not only of deadening abstraction, but also of the insidious hopes and rising insecurities that seem to be endemic in our current economic life. This is the stoic ideal.
Timeful Texts
Consider texts like the Bible and the Analects of Confucius. People integrate ideas from those books into their lives over time—but not because authors designed them that way. Those books work because they’re surrounded by rich cultural activity. Weekly sermons and communities of practice keep ideas fresh in readers’ minds and facilitate ongoing connections to lived experiences. This is a powerful approach for powerful texts, requiring extensive investment from readers and organizers. We can’t build cathedrals for every book. Sophisticated readers adopt similar methods to study less exalted texts, but most people lack the necessary skills, drive, and cultural contexts. How might we design texts to more widely enable such practices?
spaced repetition is just one approach for writing timeful texts. What other powerful tools might it be possible to create, making future books into artifacts that transcend their pages, as they slowly help readers shape their lives?
Bret Victor - Media for Thinking the Unthinkable
Ask HN: How do I balance all my 200 interests in life? | Hacker News
Horrible advice: find a way to blend your work with your interests so that you no longer understand where your core work hours start and the obsessiveness begins. Do this for > 12 hours a day, every day, holidays included. Tell your loved ones that you're busy with work, and take small satisfaction that what you just said was half true. Develop an unhealthy addiction to liquid stimulants and spring out of bed every morning with a burning curiosity that wont abate until you've tripped over enough hurdles to crush your enthusiasm for a few hours. Rinse and repeat for a decade until you're no longer a jack of all trades, but a master of most. Try to convey your interests to those around you, and failing that, retreat to social media where you will attempt to spin these as career developing STAR moments. Accept the disappointment you will feel in knowing that no one will appreciate the efforts you went to in achieving this level of tedious mastery.
fully regretting that you didn't focus more on that thing, oh and the other thing plus you're certain life would have been better for everyone if you hadn't dont quite so much of...
I started trimming hobbies. To pacify myself, I told myself that I am not stopping FOREVER, but just for now. It worked. Most of them are gone, I continue with a few, and I occasionally dabble with one or two that I put away.
Start with a group of interests that has the most overlaps in terms of skills or resources needed - call these compounded projects. Out of the compounded projects, start with the one that interests you with 2 weeks of effort. If you can’t make a significant progress in that time frame, you either lack the skills, resource, or interests in them. Move onto the next compounded project.
After you finish with the list of compounded projects, review the original list and prioritize the interests based on your experience. Create compounded projects again and go at it. Repeat.
being elastic with your interest and skills while jumping from project to project is the right approach.
(1) Start by being clear with yourself what things you're interested in knowing about vs. what things you're interested in doing.
The more work in progress streams, the more time you waste context switching. Being intentional about the things you choose to do and the order in which you do them allows you to do more things in the same amount of time than if you tried to do all of them simultaneously.
I had a lot of interests: coding, playing musical instruments, cars, woodworking, embedded systems, audio/video engineering, etc, but I had to pare it down to just a few after having had several bouts of burnouts. I'd recommend trying 200 interests at a shallow level, and eventually you'll find some of them are more interesting than others
Future-proofing Your Knowledge in the Age of Information Overload
Reason for using Obsidian: > In the age of information overload and increasing censorship, it is crucial to future-proof your knowledge by creating a personal memex or knowledge management system. A memex, as envisioned by Vannevar Bush, is a device that stores and retrieves vast amounts of information, supplementing human memory. By building a digital memex, you can own your data, access it offline, quickly capture information, sync across devices, and easily search and interconnect knowledge. This system enhances working memory, reduces cognitive overload, and allows you to monetize what you know in the knowledge economy. Obsidian, an open-source application, is an ideal tool for creating a personal knowledge management system due to its flexibility, bi-directional linking, and integrations with other productivity apps.
A memex is a hypothetical device described by Vannevar Bush in his 1945 article “As We May Think”. It stands for "memory extension" and is considered a precursor to the concept of hypertext and the World Wide Web. The memex was envisioned as a mechanical device that could store and retrieve vast amounts of information by interconnecting documents, books, communications, records, annotations, and personal notes. It aimed to supplement human memory and facilitate information organization and retrieval.
All information should be easily searchable and interconnected to optimize resurfacing of knowledge with “exceeding speed and flexibility”.
Because of the information overload we experience every day in the digital world, we tend to forget where to find information we encountered even within the same day of seeing it. This is a problem everyone experiences to varying degrees.
Building a PKM system allows you to outsource valuable information into a centralized location, reducing cognitive overload.
Generating the notes in Markdown makes them future-proof. Even if Obsidian dies and for some reason you can no longer download the application, you’ll still be able to read, write and edit your notes with literally any computer.
Personal toolkit: A framework for personal knowledge management tools
The Loneliness of the American Worker - WSJ
A glitch in the matrix of online shopping
As furniture and home goods sales have moved online, retail experts told me, more and more stores have sought a piece of the action. But instead of sourcing or creating their own products, many large retailers have relied on overlapping networks of manufacturers, distributors and third-party sellers — creating a baffling (and frankly, shady) shopping environment where many sites sell identical or near-identical items under different names and at wildly different prices.
A few different trends are at play here, and it’s sometimes difficult to know exactly which one you’re witnessing. When I first began looking into this phenomenon two years ago,1 I assumed my lamp and its many, many twins were the obvious product of white-labeling — a popular and growing practice in which competing retailers purchase the same generic product from a single manufacturer, then market it to consumers under different brand names.
This is likely true for many doppelganger products — but certainly not every one. George John, a marketing professor at the University of Minnesota, told me the furniture and home goods industries also have a long-time affection for a technique called “branded variance,” wherein they create slightly different versions of the same item for different retailers.
Agus 🔎 ⏸️~ on X: "Ok this paper is a huge breakthrough in Mechanistic Interpretability. This is wild, I'm so happy A small explanation in thread" / X
ChatGPT - Wharton Influence Coach
Google’s A.I. Search Errors Cause a Furor Online
This February, the company released Bard’s successor, Gemini, a chatbot that could generate images and act as a voice-operated digital assistant. Users quickly realized that the system refused to generate images of white people in most instances and drew inaccurate depictions of historical figures.With each mishap, tech industry insiders have criticized the company for dropping the ball. But in interviews, financial analysts said Google needed to move quickly to keep up with its rivals, even if it meant growing pains.Google “doesn’t have a choice right now,” Thomas Monteiro, a Google analyst at Investing.com, said in an interview. “Companies need to move really fast, even if that includes skipping a few steps along the way. The user experience will just have to catch up.”
Measuring Up
What if getting a (design) job were human-centered?How might we reconsider this system of collecting a pool of resumes and dwindling them down to a few dozen potential candidates? With so many qualified individuals in the job market, from new grads to seasoned professionals, there has to be a fit somewhere.Call me an idealist — I am.In an ideal world, somehow the complexity of what makes a person unique could be captured and understood easily and quickly without any technological translators. But until then, a resume and a portfolio will have to do, in addition to the pre-screening interviews and design challenges. Without diving into a speculative design fiction, what if getting a (design) job were human-centered? How might the system be a bit more personal, yet still efficient enough to give the hundreds of qualified job seekers a chance in a span of weeks or months?
despite our human-centered mantra, the system of getting a job is anything but human-centered.For the sake of efficiency, consistency is key. Resumes should have some consistent nature to them so HR knows what the heck they’re looking at and the software can accurately pick out whose qualified. Even portfolios fall prey to these expectations for new grads and transitional job seekers. Go through enough examples of resumes and portfolios and they can begin to blur together. Yet, if I’m following a standard, how do I stand out when a lot of us are in the same boat?
Manhood | The Point Magazine
set of perspectives on what it means to be a man in today's society, based on survey responses from people of various genders.
There are a lot of competing messages about masculinity, and the only people willing to discuss it with the men going through it tend to be those pushing a regressive version of masculinity. A man that really does want to be more open emotionally or who is creative or is less ambitious can either be labeled as “less manly” or will be told to stop complaining because others have had it much worse for much longer.
As a young AFAB [assigned-female-at-birth] person who was always running away from the idea of growing up as a woman, I found the cultural marketing of manhood very appealing. I saw it as something that allowed you to have robust adventures, fix everyday things, engage in complex cultural conversations and carry yourself with an easy confidence.
Of course, when I left the small town I grew up in and met more men, I found that my previous ideas about manliness were, to put it generously, misaligned.
Fontana pays nearly $900,000 for ‘psychological torture’ inflicted by police to get false confession
хор мальчиков хорового училища им.М.И.Глинки (СПб) часть 6
Faux ScarJo and the Descent of the A.I. Vultures
The Spectacular Failure of the Star Wars Hotel
Tennis Explains Everything - The Atlantic
Tennis is an elegant and simple sport. Players stand on opposite sides of a rectangle, divided by a net that can’t be crossed. The gameplay is full of invisible geometry: Viewers might trace parabolas, angles, and lines depending on how the players move and where they hit the ball. It’s an ideal representation of conflict, a perfect stage for pitting one competitor against another, so it’s no wonder that the game comes to stand in for all sorts of different things off the court.
The “Battle of Sexes” match in 1973, between Billie Jean King and then-retired Bobby Riggs, has since been mythologized as a turning point for women’s sports. If the social allegory of the Ashe-Graeber match was subtextual, the one in this spectacle—which ended in a decisive victory for King over the cartoonishly chauvinistic Riggs—was glaringly explicit. At a time when women’s liberation was becoming a force that threw all sorts of conventions into question, and plenty of people were for or against the gains of the movement, seeing the debate represented by a game of tennis surely had a comforting appeal. For those with more regressive beliefs, rooting for Bobby was certainly easier than really articulating a justification for maintaining massive pay disparities between men and women, both within and outside of professional tennis.
Within their love triangle, tension arises with the dawning recognition that in a one-on-one sport, there’s always another person who doesn’t have a place on the court. Save for the night they meet, when Tashi induces Art and Patrick to kiss each other for her entertainment, the three of them rarely engage with one another at the same time: Someone is always watching from the stands, whether literally or metaphorically.
During Patrick and Tashi’s brief romance, a post-coital conversation seamlessly transitions into a discussion about Patrick’s poor performance as a pro, and eventually becomes a referendum on why their relationship doesn’t work. Confused, and trying to make sense of it all as their banter swiftly changes definitions, Patrick asks: “Are we still talking about tennis?” “We’re always talking about tennis,” Tashi replies. Frustrated, Patrick tersely retorts: “Can we not?”
As the linguists George Lakoff and Mark Johnson argue in their 1980 book,Metaphors We Live By, “Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.” In other words, we’re always talking about things in terms of other things—even if it’s not always as obvious as it is in Challengers. Metaphors are more than just a poetic device; they’re fundamental to the way language is structured.
No matter what issue is at stake, or how grand it may be, it can always be reduced to an individual’s performance on the court.
While Patrick is still dating Tashi, and Art is transparently trying to steal his best friend’s girl, Patrick playfully accuses Art of playing “percentage tennis”—a patient strategy of hitting low-risk shots and waiting for your opponent to mess up
Art asks for Tashi’s permission to retire once the season is over. Art knows that this would be the end of their professional relationship—he would no longer be able to play dutiful pupil to Tashi. But it might also be the end of whatever spark animated their love in the first place, as you can’t play “good fucking tennis” in retirement. Tashi says she will leave Art if he doesn’t beat Patrick in the final. Tired of playing, but unable to escape the game, Art curls up in his wife’s lap and cries.
Berger’s Books
The cover immediately sets Ways of Seeing apart from its contemporaries, the book itself begins on the cover. Rather than creating a conventionally appealing cover, Hollis chose to bypass this tradition entirely, instead placing the text and an image from the start of the first chapter straight onto the front, just beneath the title and authors name. This directness has a link with the television series, mimicking how the first episode began with no preamble or title sequence, Berger got started immediately, drawing the audience in with his message rather than any distractions.
Another link to Berger’s presenting style is Hollis’ choice of typeface, bold Univers 65 is used for the body copy throughout, in an attempt to achieve something of the captivating quality of Berger’s voice.
The layout also employs large indents rather than paragraph breaks, something of a Hollis trademark. But this mirrors how Berger had presented on television, there was little time wasted with atmospheric filler shots or long gaps in speech, the message was key and continuous.
The key reason that Ways of Seeing has become iconic as a piece of book design is how it dealt with text and image: the two are integrated, where an image is mentioned in the text it also appears there. Captions are avoided where possible. When unavoidable they are in a lighter weight of type and run horizontally, so as not to disrupt the text. Images are often set at the same width as the lines of text, or indented by the same amount, this democratises the text and image relationship. Occasionally works of art are cropped to show only the pertinent details. All of these features are a big departure from the art books of the time which usually featured glorified full page colour images, often in a glossy ‘colour plate’ section in the middle, completely distanced from where the text refers to them.
Design is not used for prettifying, or to create appeal, rather it is used for elucidating, to spread his message or get his point across as clearly as possible. Be it a point about art and politics, art and gender, the ethics of advertising, the human experiences of a rural GP, or economic migrants in Germany — the design is always appropriate to what Berger wants to say, but does so economically without redundancy.
Even in Portraits: John Berger on Artists published by Verso in 2015, Berger insisted on black and white reproductions, arguing that: “glossy colour reproductions in the consumerist world of today tend to reduce what they show to items in a luxury brochure for millionaires. Whereas black-and-white reproductions are simple memoranda.”
the images in the book “illustrate the essentially dialectical relationship between text and image in Berger’s work: the pattern in which an image shapes a text, which then goes on to shape how we understand that image.”
How tweet threads cured my writer's block: Twitter as a medium for sketching
witter’s main constraint is encouraging concision. It’s hard to dwell on word choice when you have so little space to work with. Twitter’s conversational tone also helps here—I can just write like I talk, and any fancy words would seem out of place. And of course, I can’t tweak fonts and margins, which cuts off a distraction vector.
each idea has to be wrapped in a little atomic package. I find this helpful for figuring out the boundaries between my thoughts and clarifying the discrete units of an argument.
a thread is linear! No indenting allowed. This forces a brisk straightline through the argument, instead of getting mired in the fine points of the sub-sub-sub-arguments of the first idea.
I think Twitter is useless for persuading a skeptical reader; there’s simply not space for providing enough detail and context.
I prefer to use Twitter as a way to workshop ideas with sympathetic parties who already have enough context to share my excitement about the ideas.
Overall, it seems that we want constraints that help keep us on track with fluid thought, but don’t rule out too many interesting possibilities. Considering both of these criteria together is a subtle balancing act, and I don’t see easy answers.
low barrier to finishing. On Twitter, a single sentence is a completely acceptable unit of publication. Anything beyond that is sort of a bonus. In contrast, most of my blog posts go unpublished because I fear they’re not complete, or not good enough in some dimension. These unpublished drafts are obviously far more complete than a single tweet, but because they’re on a blog, they don’t feel “done,” and it’s hard to overcome the fear of sharing.
This seems like a crucial part of sketching tools: when you make a sketch, it should be understood that your idea is immature, and feel safe to share it in that state. There’s a time and a place for polished, deeply thorough artifacts… and it’s not Twitter! Everyone knows you just did a quick sketch.
I believe that quantity leads to quality. The students who make more pots in ceramics class improve faster than the students who obsess over making a single perfect pot. A tool with a built-in low barrier to finishing makes it easier to overcome the fear, do more work, and share it at an earlier stage.
For me, Twitter does an oddly good job at simulating the thrilling creative energy of a whiteboarding session. People pop in and out of the conversation offering insights; trees and sub-trees form riffing off of earlier points.
I’m curious to think more about the constraints/freedoms afforded by different kinds of creative tools, and whether we could get more clever with those constraints to enable new kinds of sketching. I’m especially curious about kinds of sketching which are only possible thanks to computers, and couldn’t have been done with paper and pen.
Game Producer: The Role Everyone Loves to Debate
Netflix's head of design on the future of Netflix - Fast Company
At Netflix, we have such a diverse population of shows in 183 countries around the world. We’re really trying to serve up lots of stories people haven’t heard before. When you go into our environment, you’re like, “Ooh, what is that?” You’re almost kind of afraid to touch it, because you’re like, “Well, I don’t want to waste my time.”That level of discovery is literally, I’m not bullshitting you, man, that’s the thing that keeps me up at night. How do I help figure out how to help people discover things, with enough evidence that they trust it? And when they click on it, they love it, and then they immediately ping their best friend, “Have you seen this documentary? It’s amazing.” And she tells her friends, and then that entire viral loop starts.
The discovery engine is very temporal. Member number 237308 could have been into [reality TV] because she or he just had a breakup. Now they just met somebody, so all of a sudden it shifts to rom-coms.Now that person that they met loves to travel. So [they might get into] travel documentaries. And now that person that they’re with, they may have a kid, so they might want more kids’ shows. So, it’s very dangerous for us to ever kind of say, “This is what you like. You have a cat. You must like cat documentaries.”
We don’t see each other, obviously, and I don’t want to social network on Netflix. But knowing other humans exist there is part of it.You answered the question absolutely perfectly. Not only because it’s your truth, but that’s what everyone says! That connection part. So another thing that goes back to your previous question, when you’re asking me what’s on my mind? It’s that. How do I help make sure that when you’re in that discovery loop, you still feel that you’re connected to others.I’m not trying to be the Goth kids on campus who are like, “I don’t care about what’s popular.” But I’m also not trying to be the super poppy kids who are always chasing trends. There’s something in between which is, “Oh, hey, I haven’t heard about that, and I kind of want to be up on it.”
I am looking forward to seeing what Apple does with this and then figuring out more, how are people going to use it? Then I think that we should have a real discussion about how Netflix does it.But to just port Netflix over? No. It’s got to make sure that it’s using the power of the system as much as humanly possible so that it’s really making that an immersive experience. I don’t want to put resources toward that right now.
On porting Netflix to Apple Vision Pro
The design team here at Netflix, we played a really big hand in how that worked because we had to design the back-end tool. What people don’t know about our team is 30% of our organization is actually designing and developing the software tools that we use to make the movies. We had to design a tool that allowed the teams to understand both what extra footage to shoot and how that might branch. When the Black Mirror team was trying to figure out how to make this narrative work, the software we provided really made that easier.
Broadcast by Pioneer Works
Scenario Planning for an AGI Future-Anton Korinek
My Last Five Years of Work
Copywriting, tax preparation, customer service, and many other tasks are or will soon be heavily automated. I can see the beginnings in areas like software development and contract law. Generally, tasks that involve reading, analyzing, and synthesizing information, and then generating content based on it, seem ripe for replacement by language models.
Anyone who makes a living through delicate and varied movements guided by situation specific know-how can expect to work for much longer than five more years. Thus, electricians, gardeners, plumbers, jewelry makers, hair stylists, as well as those who repair ironwork or make stained glass might find their handiwork contributing to our society for many more years to come
Finally, I expect there to be jobs where humans are preferred to AIs even if the AIs can do the job equally well, or perhaps even if they can do it better. This will apply to jobs where something is gained from the very fact that a human is doing it—likely because it involves the consumer feeling like they have a relationship with the human worker as a human. Jobs that might fall into this category include counselors, doulas, caretakers for the elderly, babysitters, preschool teachers, priests and religious leaders, even sex workers—much has been made of AI girlfriends, but I still expect that a large percentage of buyers of in-person sexual services will have a strong preference for humans. Some have called these jobs “nostalgic jobs.”
It does seem that, overall, unemployment makes people sadder, sicker, and more anxious. But it isn’t clear if this is an inherent fact of unemployment, or a contingent one. It is difficult to isolate the pure psychological effects of being unemployed, because at present these are confounded with the financial effects—if you lose your job, you have less money—which produce stress that would not exist in the context of, say, universal basic income. It is also confounded with the “shame” aspect of being fired or laid off—of not working when you really feel you should be working—as opposed to the context where essentially all workers have been displaced.
One study that gets around the “shame” confounder of unemployment is “A Forced Vacation? The Stress of Being Temporarily Laid Off During a Pandemic” by Scott Schieman, Quan Mai, and Ryu Won Kang. This study looked at Canadian workers who were temporarily laid off several months into the COVID-19 pandemic. They first assumed that such a disruption would increase psychological distress, but instead found that the self-reported wellbeing was more in line with the “forced vacation hypothesis,” suggesting that temporarily laid-off workers might initially experience lower distress due to the unique circumstances of the pandemic.
By May 2020, the distress gap observed in April had vanished, indicating that being temporarily laid off was not associated with higher distress during these months. The interviews revealed that many workers viewed being left without work as a “forced vacation,” appreciating the break from work-related stress and valuing the time for self-care and family. The widespread nature of layoffs normalized the experience, reducing personal blame and fostering a sense of shared experience. Financial strain was mitigated by government support, personal savings, and reduced spending, which buffered against potential distress.
The study suggests that the context and available support systems can significantly alter the psychological outcomes of unemployment—which seems promising for AGI-induced unemployment.
From the studies on plant closures and pandemic layoffs, it seems that shame plays a role in making people unhappy after unemployment, which implies that they might be happier in full automation-induced unemployment, since it would be near-universal and not signify any personal failing.
A final piece that reveals a societal-psychological aspect to how much work is deemed necessary is that the amount has changed over time! The number of hours that people have worked has declined over the past 150 years. Work hours tend to decline as a country gets richer. It seems odd to assume that the current accepted amount of work of roughly 40 hours a week is the optimal amount. The 8-hour work day, weekends, time off—hard-fought and won by the labor movement!—seem to have been triumphs for human health and well-being. Why should we assume that stopping here is right? Why should we assume that less work was better in the past, but less work now would be worse?
Removing the shame that accompanies unemployment by removing the sense that one ought to be working seems one way to make people happier during unemployment. Another is what they do with their free time. Regardless of how one enters unemployment, one still confronts empty and often unstructured time.
One paper, titled “Having Too Little or Too Much Time Is Linked to Lower Subjective Well-Being” by Marissa A. Sharif, Cassie Mogilner, and Hal E. Hershfield tried to explore whether it was possible to have “too much” leisure time.
The paper concluded that it is possible to have too little discretionary time, but also possible to have too much, and that moderate amounts of discretionary time seemed best for subjective well-being. More time could be better, or at least not meaningfully worse, provided it was spent on “social” or “productive” leisure activities. This suggests that how people fare psychologically with their post-AGI unemployment will depend heavily on how they use their time, not how much of it there is
Automation-induced unemployment could feel like retiring depending on how total it is. If essentially no one is working, and no one feels like they should be working, it might be more akin to retirement, in that it would lack the shameful element of feeling set apart from one’s peers.
Women provide another view on whether formal work is good for happiness. Women are, for the most part, relatively recent entrants to the formal labor market. In the U.S., 18% of women were in the formal labor force in 1890. In 2016, 57% were. Has labor force participation made them happier? By some accounts: no. A paper that looked at subjective well-being for U.S. women from the General Social Survey between the 1970s and 2000s—a time when labor force participation was climbing—found both relative and absolute declines in female happiness.
I think women’s work and AI is a relatively optimistic story. Women have been able to automate unpleasant tasks via technological advances, while the more meaningful aspects of their work seem less likely to be automated away.
When not participating in the formal labor market, women overwhelmingly fill their time with childcare and housework. The time needed to do housework has declined over time due to tools like washing machines, dryers, and dishwashers. These tools might serve as early analogous examples of the future effects of AI: reducing unwanted and burdensome work to free up time for other tasks deemed more necessary or enjoyable.
it seems less likely that AIs will so thoroughly automate childcare and child-rearing because this “work” is so much more about the relationship between the parties involved. Like therapy, childcare and teaching seems likely to be one of the forms of work where a preference for a human worker will persist the longest.
In the early modern era, landed gentry and similar were essentially unemployed. Perhaps they did some minor administration of their tenants, some dabbled in politics or were dragged into military projects, but compared to most formal workers they seem to have worked relatively few hours. They filled the remainder of their time with intricate social rituals like balls and parties, hobbies like hunting, studying literature, and philosophy, producing and consuming art, writing letters, and spending time with friends and family. We don’t have much real well-being survey data from this group, but, hedonically, they seem to have been fine. Perhaps they suffered from some ennui, but if we were informed that the great mass of humanity was going to enter their position, I don’t think people would be particularly worried.
I sometimes wonder if there is some implicit classism in people’s worries about unemployment: the rich will know how to use their time well, but the poor will need to be kept busy.
Although a trained therapist might be able to counsel my friends or family through their troubles better, I still do it, because there is value in me being the one to do so. We can think of this as the relational reason for doing something others can do better. I write because sometimes I enjoy it, and sometimes I think it betters me. I know others do so better, but I don’t care—at least not all the time. The reasons for this are part hedonic and part virtue or morality.
A renowned AI researcher once told me that he is practicing for post-AGI by taking up activities that he is not particularly good at: jiu-jitsu, surfing, and so on, and savoring the doing even without excellence. This is how we can prepare for our future where we will have to do things from joy rather than need, where we will no longer be the best at them, but will still have to choose how to fill our days.
The power of TikTok Edits
In the past, I’ve only seen coverage of Edits focus on four things:How this is a popular form of content that is only being created more and moreHow those who create Edits have the ability to make clips take on an entirely new meaning and provoke strong emotions in viewers How they’re geared towards TV, film, and music – as that’s the realm of culture this form of media originated And lastly, the debate around Edits in terms of copyright and/or other infringementsBut today, we’re covering how the power of TikTok Edits is far greater than just those observations. Because as this person stated, “You can convince people of anything if you put it in a TikTok with a catchy sound.”
Edits now play an integral role in how people get introduced to topics and how they continue to keep up with them. While Edits have had various evolutions, in their current form, they can be defined as “compilation videos, typically set to music, that convey a narrative about a person, place, thing, or cultural topic.”
@novelconcepts on I Saw the TV Glow - Tumblr
I Saw the TV Glow is such a uniquely, devastatingly queer story. Two queer kids trapped in suburbia. Both of them sensing something isn’t quite right with their lives. Both of them knowing that wrongness could kill them. One of them getting out, trying on new names, new places, new ways of being. Trying to claw her way to fully understanding herself, trying to grasp the true reality of her existence. Succeeding. Going back to help the other, to try so desperately to rescue an old friend, to show the path forward. Being called crazy. Because, to someone who hasn’t gotten out, even trying seems crazy. Feels crazy. Looks, on the surface, like dying. And to have that other queer kid be so terrified of the internal revolution that is accepting himself that he inadvertently stays buried. Stays in a situation that will suffocate him. Choke the life out of him. Choke the joy out of him. Have him so terrified of possibly being crazy that he, instead, lives with a repression so extreme, it quite literally is killing him. And still, still, he apologizes for it. Apologizes over and over and over, to people who don’t see him. Who never have. Who never will. Because it’s better than being crazy. Because it’s safer than digging his way out. Killing the image everyone sees to rise again as something free and true and authentic.