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Money became increasingly fake-seeming as it diverged more and more from a hard day’s work and most conventional wisdom.

The growing number of people taking chances that they barely believed in (starting an Onlyfans, going all in on a memecoin, becoming a performative racist for clicks) reflected a rational response to seeing absurd and/or conventionally shitty ideas have outsized success (Bored Apes, Trump, the Babyccino).

bucking conventional wisdom in any direction became the order of the day. Contrarianism became incredibly popular. Taking the diametrically opposed position to consensus as a shortcut to standing out in a crowded and volatile field was a key Clown Town strategy.

As a subset of contrarianism, Hot Sauce Behavior became especially popular. Hot Sauce involves taking something basic or mid and applying a socially forbidden or mysterious spice to it (in place of, or to function as, the X factor or the je ne sais quoi). This element had to be shocking, bad, atavistic, or otherwise “not normal”—it could be Nazism, grooming, the Occult, Catholicism, outright aggression, the threat of violence, or the attitudes of obscure-to-you political groups—but in smallish amounts. It made peoples’ hearts race and adrenaline pump while they consumed something otherwise bland. (This was the Tension Economy as the new Attention Economy.)

If the 2020 degen was a gambler willing to go all in on a whim… …the 2023 degen is a sophisticated risk manager We have found ourselves in a new cultural era in which multiple overlapping crises and rising interest rates have led to an emergent reckoning. It is now widely understood that it was very stupid to play crazy games with tons of excess money instead of actually improving material reality. But certain questions remain: What the fuck is anything worth today? What’s the best way to manage risk while it all comes falling down?

In chess, today’s average player is more skilled than the one from yesteryear because online exposure of advanced theory has led to regular players making the moves of masters. As Virgil once said, “One kid does a new skateboard trick, then hundreds more can do it the next day around the world.”

Everyone should be able to use their increased intelligence and awareness to better navigate the world. In reality, the irony is painful: When everyone gets smarter, things get harder. If everyone is reassessing the most-effective-tactics-available all the time, it gets harder and harder to win, even though you’re smarter and “should be in a better position.” The Yale admissions office realizes thousands of applicants have watched the same obscure how-to-get-into-Yale TikTok, and decides to change the meta: Leadership is no longer a valuable quality.

Max Pain means, even when you’re right, you’re wrong; it describes a climate in which everyone’s opinion is right at some point, but never at the right time.

Essentially the reason Electron apps are so heavy is they run on a browser, not on an operating system.In the beginning, programs ran directly on hardware, and things were good. (e.g. Pretty much every game would ship with a custom bootloader that knew how to address the hardware and exposed this to the program, you didn’t - couldn’t - have anything else running at the same time.)Later on, programs ran on the operating system, and things were okay. Operating systems abstracted over all the possible hardware configurations in an acceptable way and users got the benefit of running multiple programs simultaneously without too much of a performance cost.Now, programs run on the browser, itself a program running on the operating system. Because the browser wants to be a platform for any other program, it has to hook into almost every part of the operating system, so that it can support almost any program. This necessarily brings with it enormous bloat - in effect you’re running one general-purpose pseudo-OS framework per program.

In our program, we'll expose you to a lot of knowledge. It's sometimes overwhelming to try to figure out what one should absolutely know as a developer, versus what one should be aware of. This points to two different types of learning goals. We'll call it proficiency vs awareness. Awareness is adding another bullet point to the general knowledge database in your brain. You can build awareness by watching a video on a topic and then filing that knowledge away. Proficiency is becoming a skilled practitioner of that topic. You are expected to perform the rituals of that topic extemporaneously and can educate others on that topic. You can only reach proficiency with hundreds or thousands of hours of repetition and practice.

Stories like these are unhelpful at best, and damaging at worst. Someone skimming the Insider homepage uncritically might see this headline and chuckle at how coddled the kids are these days. That simply is not the case. The kids are alright. It is, as ever, the rich and truly powerful — the actual managerial bureaucracy — who are enriching themselves at the expense of the rest of us.

Gen Z has its own problems to confront: its members began their adult lives in the middle of a pandemic with a whiplashing economy and, in many parts of the world, an overheated market for renting or owning a home. Surveys show they want a healthier balance between their work and personal lives, and they understand developing a successful career takes time and constant learning. They do not want to be pandered to; they just want a reasonable level of respect, as with pretty much everyone else.

Extrapolating this further, I think women care much more about cultivating beauty and decreasing suffering (emotion-led), while men are primarily motivated by problem-solving and power (conquest-led)

I’m a web designer-developer. Studying at NYU Interactive Media Arts. On leave, working on climate at Watershed.

one might describe neorealism as a form of methodological and stylistic resistance against the standard filmmaking techniques that weigh each scene’s productivity and efficiency in carrying the linear narrative forward. Neorealism focuses on visual marginalia and gets intentionally lost in the details happening behind the protagonists or at the margins of the frame. Neorealism is slow and processual in method. It’s about what Kogonada identifies as visual lingering.

a different kind of cinema and sensibility in which shots linger and veer off to include others, in which in-between moments seem to be essential, in which time and place seem more critical than plot or story.”

These non-human persons and personalities, in fact, have the power as built structures to influence not only people’s moods but their everyday rituals and patterns of daily life. Columbus is an ongoing experiment about whether architecture and design can influence happiness, productivity, and heighted perceptions of the quality of life.

In the modernist purview, glass has symbolically been associated with purity, hygiene, transparency, fluidity, and openness.

In some vignettes, Columbus as an applied visual-architectural theory perhaps even exceeds the abilities of theory in written, academic form. Take glass as symbolic material for built modernism.

Glass reveals and conceals. Glass displays and hides and symbolizes. Glass bespeaks transparency but is also disposed towards exclusion and control

A personal tragedy (he would prefer to leave the exact nature of the tragedy unspoken) “started to resensitise me. My cynicism felt embarrassing and trite in the face of actual loss and heartache. In doing so, it returned me to what I loved about cinema and the cinematic experience. It allowed me to be more honest and open.”

the low-budget drama Columbus. An instant hit at Sundance in 2017, this debut feature explored the world of architecture and matters of the heart with equal perceptiveness.

“As a film-maker, it’s about trying to find that balance between formal and emotional integrity. I happened to be moved by form: the shape of presence and absence. An empty room can break me. But it can also be cold and distant if that’s all there is. My desire is to be equally attentive to the world of emotions. When I enter a theatre, I want to be moved. I don’t want just an intellectual experience. I want to connect. I want to feel.”

for all the technologies that supposedly connect us to one another, there is a growing sense of disconnection. The struggle to truly connect with another human remains. And whatever that might mean, there is a longing for it.”

“The struggle is always that balance between what feels important to you and trying to survive in a capitalistic society, which is to say, making money. I don’t know if I can afford being indulgent. I have a family to support. I grew up working class. But I also struggle with the idea of money as an incentive.”

“In my first two films, I explored connection and disconnection in the context of family, which I imagine will always be of interest to me, but I’m eager to explore this in the context of romantic possibilities.

How much of that is the actual photo and how much you might consider to be synthesized is a line I think each person draws for themselves. I think it depends on the context; Moon photography makes for a neat demo but it is rarely relevant. A better question is whether these kinds of software enhancements hallucinate errors along the same lines of what happened in Xerox copiers for years.

This analogy to lossy compression is not just a way to understand ChatGPT’s facility at repackaging information found on the Web by using different words. It’s also a way to understand the “hallucinations,” or nonsensical answers to factual questions, to which large language models such as ChatGPT are all too prone

When an image program is displaying a photo and has to reconstruct a pixel that was lost during the compression process, it looks at the nearby pixels and calculates the average. This is what ChatGPT does when it’s prompted to describe, say, losing a sock in the dryer using the style of the Declaration of Independence: it is taking two points in “lexical space” and generating the text that would occupy the location between them

they’ve discovered a “blur” tool for paragraphs instead of photos, and are having a blast playing with it.

A close examination of GPT-3’s incorrect answers suggests that it doesn’t carry the “1” when performing arithmetic. The Web certainly contains explanations of carrying the “1,” but GPT-3 isn’t able to incorporate those explanations. GPT-3’s statistical analysis of examples of arithmetic enables it to produce a superficial approximation of the real thing, but no more than that.

In human students, rote memorization isn’t an indicator of genuine learning, so ChatGPT’s inability to produce exact quotes from Web pages is precisely what makes us think that it has learned something. When we’re dealing with sequences of words, lossy compression looks smarter than lossless compression

Generally speaking, though, I’d say that anything that’s good for content mills is not good for people searching for information. The rise of this type of repackaging is what makes it harder for us to find what we’re looking for online right now; the more that text generated by large language models gets published on the Web, the more the Web becomes a blurrier version of itself.

Can large language models help humans with the creation of original writing? To answer that, we need to be specific about what we mean by that question. There is a genre of art known as Xerox art, or photocopy art, in which artists use the distinctive properties of photocopiers as creative tools. Something along those lines is surely possible with the photocopier that is ChatGPT, so, in that sense, the answer is yes

If students never have to write essays that we have all read before, they will never gain the skills needed to write something that we have never read.

Sometimes it’s only in the process of writing that you discover your original ideas.

Some might say that the output of large language models doesn’t look all that different from a human writer’s first draft, but, again, I think this is a superficial resemblance. Your first draft isn’t an unoriginal idea expressed clearly; it’s an original idea expressed poorly, and it is accompanied by your amorphous dissatisfaction, your awareness of the distance between what it says and what you want it to say. That’s what directs you during rewriting, and that’s one of the things lacking when you start with text generated by an A.I.

I do a pretty good job of channeling my procrastination into adjacent creative tasks which, in the end, influence, shape, and improve the chunks of work I do complete. And that looks like productivity from the outside. But trust me, from the inside, it usually just feels like avoidance and procrastination. But I’ve learned to accept that’s the cost of doing the kind of work I feel good at, so I let it be what it is.

The particularly nice thing about coding is that it offers many little “wins”: I get a function working, I figure out a piece of design

“Can’t face work? Then cultivate some side projects — and channel your work-avoidance into fun opportunities to learn” and once you’re done, you’ll 1) have something productive to show for it, and 2) be much more fit, rested, and ready to tackle that project at work. In other words: rather than fight your penchant for procrastination, work with it. It’s a judo move: don’t fight your enemy, use its momentum against it for your benefit.