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The preceding pandemic year had been a time of unprecedented digital immersion. With less material to draw upon from the outside world, we frantically generated content about content. Memes evolved at an accelerated rate, all the more recursive because they were all we had. At the time, this didn’t even feel strange, because it was the mere culmination of what we’d been building toward for the prior decade, and we were already acclimated. 2020 put the finishing touches on that process of rewiring our brains for social media, fully orienting us toward a world where everything is content and potential raw material for memes and discourse.

New Gentrification — metagentrification — is post-millennial, illegible, and hyper-self-aware (“Not me eating breakfast at Dimes!”). Micro-neighborhoods and scenes rapidly emerge, memeified from the start, encouraging an incessant exegesis among their ever-expanding horde of participants, many of whom seem to simultaneously exist within those worlds and at an ironic distance from them. The most sophisticated providers of detached commentary, and the most viral memes, become symbolic pillars of the neighborhood itself. The entire construct feels like a Russian doll of such knowingness, the center of which, if you ever reach it, may or may not turn out to be anything at all.

Hipsters had a coherent if embarrassing system of values, celebrating elusive objectives like authenticity; with so many of those ideals long since commodified or extinguished, an impenetrable nihilism has replaced it, accepting that if everything is just content, it can all be worn like a costume and then discarded when the starter pack of which it’s part evolves and renders it obsolete.

Sundberg quotes a Dimes Square local who worries that the neighborhood’s new hotel development will unleash another wave of thinkpieces and clueless tourists — people who “think it’s a real thing.” She continues, “It’s not a real thing. It was a joke that journalists and people who don’t live here kind of escalated into a reality.” To the tourists, the firsthand experience of the place must indeed be puzzling, even disappointing, like visiting the diner from Seinfeld. Clandestino is an ordinary bar, albeit more crowded these days. The real thing is anchored somewhere else, and those visitors have probably already found it.

My desire is to perpetually grow and be a better learner, builder, thinker, and doer. The MIT Media Lab is the best place I can think of to do that. I hope that you agree.

Nobody tells people who are beginners — and I really wish somebody had told this to me — is that all of us who do creative work … we get into it because we have good taste. But it’s like there’s a gap, that for the first couple years that you’re making stuff, what you’re making isn’t so good, OK? It’s not that great. It’s really not that great. It’s trying to be good, it has ambition to be good, but it’s not quite that good. But your taste — the thing that got you into the game — your taste is still killer, and your taste is good enough that you can tell that what you’re making is kind of a disappointment to you, you know what I mean? A lot of people never get past that phase. A lot of people at that point, they quit. And the thing I would just like say to you with all my heart is that most everybody I know who does interesting creative work, they went through a phase of years where they had really good taste and they could tell what they were making wasn’t as good as they wanted it to be — they knew it fell short, it didn’t have the special thing that we wanted it to have. And the thing I would say to you is everybody goes through that. And for you to go through it, if you’re going through it right now, if you’re just getting out of that phase — you gotta know it’s totally normal. And the most important possible thing you can do is do a lot of work — do a huge volume of work. Put yourself on a deadline so that every week, or every month, you know you’re going to finish one story. Because it’s only by actually going through a volume of work that you are actually going to catch up and close that gap. And the work you’re making will be as good as your ambitions. It takes a while, it’s gonna take you a while — it’s normal to take a while. And you just have to fight your way through that, okay?

I was talking recently to a friend who teaches at MIT. His field is hot now and every year he is inundated by applications from would-be graduate students. "A lot of them seem smart," he said. "What I can't tell is whether they have any kind of taste."

Mathematicians call good work "beautiful," and so, either now or in the past, have scientists, engineers, musicians, architects, designers, writers, and painters. Is it just a coincidence that they used the same word, or is there some overlap in what they meant? If there is an overlap, can we use one field's discoveries about beauty to help us in another?

“Taste is the ability to infuse a product with emotion. In a taste-based industry, its products are stripped down to their very core: how it makes its users feel. We see this phenomenon happen in books, music, movies, games and increasingly tech products

Life can be much broader once you discover one simple fact: Everything around you that you call life was made up by people that were no smarter than you. And you can change it, you can influence it

Film geeks don’t have a whole lot of tangible things to show for their passion and commitment to film. They just watch movies all the time. What they do have to show is a high regard for their own opinion. They’ve learned to break down a movie. They understand what they like and don’t like about a film. And they feel that they’re right. It’s not open to discussion. When I got involved in the movie industry I was shocked at how little faith or trust people have in their own opinions. They read a script and they like it – then they hand it to three of their friends to see what they think about it. I couldn’t believe it.

Rick Rubin on trusting your own taste: “You can’t second-guess your own taste for what someone else is going to like…Do what’s personal to you, take it as far you can go and people will resonate with it if they are supposed to resonate with it.”

I never had an arts education. I can barely draw straight lines. What I do have is a love for words, the history and delightful orgy of words, and a constant sense of discomfort about how things are hardly ever the way they should be.

I’m thinking now about how school encourages students to bullshit. I have friends who are literature teachers who constantly get frustrated by how their smart students give them stupid but vaguely plausible answers – I remember what it was like to be such a student. The student isn’t interested in being honest about his feelings – he just wants to be done with his homework and go on to play.

higher-level observations around underlying behavior.

In 2011, Google found its search results facing severe scrutiny because so-called “content farms” (websites that produced high volumes of low-quality content) were dominating the search results. Google’s SERPs were also cluttered with websites featuring unoriginal and auto-generated content – and even, in some instances, scraper sites were outranking content originators

Graduate HCI classes are far better because there is so much depth to the field. Basically, through a combination of understanding human psychology, knowing the right questions to ask, and understanding how to properly model how people will use a system you can make software that flows naturally. That last point, sometimes referred to as Cognitive Engineering, is extremely important.

Purpose is the bedrock of a motivating role, but even if the purpose is there, disengagement can result from two other key issues: Lack of growth opportunity, or A poor feedback/improvement loop.

One of the top reasons for distrust and disengagement among employees is feeling like their needs are unmet, their feedback is not heard, and things will not improve

People have been known to put up with fairly egregious situations if they can see incremental progress toward improving them.

“We are talking about a specific time [in history], 1823. We’re not talking about 1750 or 1870. Clearly, there was one thing on the mind of the king and the whole country, which was the Oyo Empire and how do you liberate yourself from economic dependence and having to pay tribute? That was the focus. This movie is not about the whole history of Dahomey, it is about a specific time where all the stars were aligned against continuing the slave trade.

“What is the goal of film?” said Gates. “Is it to educate? Is it to portray history or is it to capture themes and the spirit of issues facing the human condition? I’ve seen plenty of films that deal with the civil rights movement, slavery, where the filmmaker, the screenwriter will find that one random white person who was kind of sort of around and design the entire film around them as the hero and the protagonist.

“Now, is that historically accurate? I guess that white dude was around. Are you translating the spirit of the civil rights movement when you do that? No, you’re actually doing something incredibly offensive by centering whiteness in a story that is supposed to be about Blackness and about Black liberation. And so my question is, you throw historical inaccuracy out there, like you back it up. What do you think this film is doing that you find offensive?

The trouble with being a woman and making your art look so natural is that the world believes you unaware of your own magic; you’re less skilled artist than unaware naif merely happening upon great talent.

The Many Lives of Marilyn Monroe author Sarah Churchwell argues that storytellers too easily evade the ethical question about Monroe’s representation. “Marilyn was not only a fiction; she was not simply an icon,” she writes. “And it is wishful thinking to believe that focusing exclusively on the surface does anything but make her superficial.” Blonde, for all its posturing and virtuoso stylings, shores up a mythology — in death, Monroe remains a vessel into which directors and actors can pour their ideas about the entertainment industry and the broader patriarchy, female beauty and female image-making.

I think all writing — and criticism is very much included in this — is a form of autobiography, and I thought that I wanted to lean into it a little bit, and talk about what these shows meant to me.

One way the agency achieves its aim is the installation of hardware. Documents show Roskomnadzor mandated installation of “censorship boxes” by local internet providers. These devices allowed the Russian government to become the man-in-the-middle when public sentiment turned against it, giving it the power to throttle services utilized by government critics. They also allow the government to pull the plug on services whenever it deems it necessary. Twitter access has been repeatedly throttled. The agency has also completely blocked access to Facebook and Instagram and ensured VPN services are unusable by Russian citizens.

In some cases, censors recorded their screens showing detail down to the movements of their computer mouse as they watched over the internet. They monitored overtly political videos and, at other times, focused on less obviously worrisome content, like this viral song by the young rapper KEML. Bashkortostan is known as a hub for rap in Russia.