Tag: Aesthetics

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Aesthetics Internet Culture

Day 113 and Competence

I’ve never found it amusing to watch people be incompetent. The fool isn’t funny to me. Television shows with shitty protagonists who can’t do their jobs, and don’t care, make me sad. I don’t find The Office enjoyable. I never understood Arrested Development. I didn’t even attempt It’s Always Sunny in Philadelphia. The shows I gravitate towards are the ones where people want to make good things. Where the competence is the point. Shows like The West Wing, Star Trek, Mad Men, or The Expanse, where striving to be better is either the core virtue or the central tension.

I hate watching dysfunctional workplaces. Shows where the protagonist is fighting against bumbling bureaucracy don’t inspire laughs for me. They make me want to avoid ever being in a large organization. I still fear organizations like Human Resources. The pop culture obsession with being a knowing cynic makes me despair. How is it better to know something sucks, but rather than try to make something better, you laugh about how it all sucks? It’s not fucking funny to me. It’s sad.

I don’t know when America culturally made the transition from believing those at the top had earned it to knowing it’s all a charade but it certainly wasn’t in my lifetime. When I came of age Clinton was already a liar. We knew the history of Vietnam and Watergate so why anyone gave a shit about a blow job was beyond me. The trend only continued with the aftermath of 9/11 and our forever wars. The Obama era seemed like it provided a reprieve for people at least pretending like achievement was a virtue but the backlash was so severe I worry that was actually a fantasy.

I wonder if the “fool” or the jester archetype has become our default aspiration. If entertainment has decided its simply more appealing to play for laughs than the boring tedious reality of building stories around competence don’t get made. We don’t see the inspiration of good work.

Which sucks as being competent feels amazing. Sure I play for laughs and shitpost on social media but I want to assure you that none of that feels as good as doing work well. I don’t care what kind of thing you are making. It can be a meal or a billion dollar company. The satisfaction of competence is deep. No laugh I’ll ever get from a shitpost will ever feed the soul like a real achievement. A sincere creation hits different. Not to say that humor has no plays or that a shitpost doesn’t have virtue (I will and have gone on at length about the creative necessity of shitposting), but that being a fool isn’t the only enjoyment in life. The enjoyments I relish most are where I’ve shown myself to be competent. And I like watching others be competent as well. So please share your accomplishments with me. Even, or especially, the small ones. I think it’s just great.

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Aesthetics Chronicle Startups

Day 99 and Swag

My favorite item of clothing in the pandemic has been a Facebook hoodie. It’s the perfect garment for long days indoors, not too heavy but not too light. It zips so it’s easy to get on and off. It has pockets for stowing my iPhone. It’s got a snuggly fuzzy inside but a smooth cool texture outside. I’m not sure I’ve been more dedicated to a piece of clothing.

Years of living in New York, where dragging dirt and debris in from the city was a real concern has made me a almost compulsive aficionado of “indoor clothes” which were not besmirched by the grime of subways and pavement. My Facebook hoodie remains my default “indoor clothing” top layer. At night I unzip it and place it carefully beside my bed. In the mornings if it is cold I put it back on before starting my day. The chances are good that if you’ve been on a Zoom call with me I’ve been wearing this hoodie. It’s just on screen and a strange affectation for someone that has literally never been a fan of the traditional Silicon Valley boy wonder aesthetic. The only item I have gotten more wear out of is a pair of Gucci boots I’ve owned for 12 years now.

To say that they are very different garments is an understatement. One is a thousand dollars worth of black Italian leather crafted into the Platonic ideal of day boots. They are feminine with tight knee high lines that maintain the slightly militaristic echo that typify the Italian school of fashion. The other is a baggy slouching genderless sack of blue with an embroidered white logo that splits with a zipper tight down the middle between Face and Book.

You would not imagine the owner of one garment was the owner of the other. Even when the tech plutocracy decided it wanted to play with high fashion status games (thanks Marissa) the two stylistic poles never really gained much common ground. Still tech has inspired a significant portion of modern fashion and fashion craves the semiotic power of Silicon Valley. I’m sure Willian Gibson could explain the common lineage but I doubt I have the chops. Nevertheless I do consider both pieces to be emblematic of my personal style. Something about utility I suspect. The two garments are not from entirely different worlds

Ironically I don’t use Facebook anymore (though I still have an account) and I don’t even support what the company has become. So you might think it’s odd I own a piece of swag from the company. I got the hoodie after I had already given up on the place. But I got it from a Facebook employee who I consider to be one of the best humans I have ever known. His name his Dan.

I didn’t ask him if I could write this little remembrance so I won’t give his full name. Thanks to the efforts of one of my investors he was an advisor and investor to one of my startups and was unfailingly the kindest person I had the privilege of working with. On a trip to visit him in Menlo Park he took me to lunch on the Facebook campus. We had tacos. Afterwards as we were walking we passed the swag store. I said that I thought it was a brilliant bit of marketing that they sold hoodies. Pop culture has long cemented the status of the hoodie with both the company and with founders in general. To have a specific Facebook hoodie seemed a powerful talisman filled with irony and hope. Without missing a beat Dan bought me one.

There was no way of knowing at the time, for either of us, that this garment would end up a significant figure in my daily routine. It remains an emotional link to Dan and the support he always showed for me. He never wavered in his belief in me. This is a trait he has demonstrated consistently with those in his life. One particular example is a dear friend of mine who worked at Facebook thanks to his efforts. She is also brilliant and kind and at the time Dan worked with her the victim of a deeply Silicon Valley crisis. The kind you might even associate with tech bros who wear hoodies with logos on them. An irony that is not lost on me. The tech industry truly contains emotional multitudes.

I’d encourage you to inspect the garment in your life that holds the kind of significance and emotional resonance that this hoodie does for me. Fashion exists in even the places we think are furthest from style. Like corporate swag. Like a Facebook hoodie. There is always a story and a reason behind what we wear. Indeed this was a topic I thought I’d make my life’s work when I first stumbled onto the internet. I kept a fashion blog on WordPress maybe starting in 2004 or so. I didn’t end up being a fashion critic. But I still get to blog about clothing if I feel like it.

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Internet Culture Media

Day 95 and Context Collapse

I have reasonably high social intelligence. Yes I’m willing to flex on this. I’m able to suss out the contours of most situations quickly and code switch my language, aesthetic and context cues. Sure as a white woman in America’s vast “upper middle class” many social interactions and norms are designed for my comfort. But I spend time in spaces that are very much designed to exclude like finance. But I rarely feel out of place as I can find some point of intersection that allows me to find purchase with the leader (or norm setter) that sets a group’s context. To say that this is beneficial is an understatement.

I recently came across a piece of writing titled “A Theory of Collision Spaces” written by scientist who goes by the handle Generativist. The intended audience is folks who think probabilistically or at least have a firm grounding in computational thinking but if you have a head for logic you should be fine. The topic is how social media can do often lead to what is called “context collapse” but you might recognize as “people screaming at each other in bad faith in the comments section.”

The premise of context collapses is that online we may theoretically interact with infinite possible audiences. Infinite contexts makes it much harder for us to adjust or code switch such that we can telegraph that we care about the audience to whom we are speaking. It’s not impossible but it’s much harder. This is how one can make a statement that sounds innocuous but will end up pissing off some group that will come down hard on you. If the reaction is bad enough some audiences call it cancel culture.

Because I have a high social intelligence I’m less prone to getting caught in a context collapse situations. A quick scan of a profile and a few sentences of text is generally enough for me to subtly adjust my language and response. Of course, I cannot adjust for how others respond to me but I can respond to how they respond to me.

Think if it as second derivative social signaling. Limiting the possible permutations enables safety driven actions on my part. While I cannot survive an internet mob (no one can) even a tweet that goes reasonably viral is still bounded by social cues. The more adaptive you are at these cues the less likely you are to instigate a context collapse.

A lot of reasonable people have concluded that context collapse and internet mobs make social interactions on the internet too risky. The likelihood of encountering someone who will go splat against your reality and make a fucking thing out of it is none zero.

But I’d argue you have a weighting bias issue for the magnitude of the risk. You are much more likely to build something of worth from being social than you are to become “canceled” and I think this Theory of Collision Spaces essay just might convince even the twitchiest rationalist groupie. Why? Ensemble learning and computer mediated relationships are super powers for humans. Our ability to extend our thinking has two powerful tools in this era. We can learn from others. And our tools like our computers and their application layer act as extensions of our mind. But don’t my word for it. Nothing I can say will remotely compare to the paper as I’m just not as smart as this scientist.

So you get that social media has many opportunities for expanding our mind. So how do we become comfortable with the perceived risk? One point I want to get across here is that assuming all interactions online are bad makes for poor heuristics. So why is it not as risky as you think?

“Social cues mal-adaptively increase the unconditional variance of expressions while minimizing the group-conditioned variance.

Basically social media makes you lean into identity cues. We fight with negative identity opponents and align with positive identity proponents. The only issue? You might be talking to someone like me that code switches. “You cannot easily distinguish between unreliable counterparties, deceptive ones, and whether or not you are wrong.” So you could be talking to someone deliberately fucking with you, someone who legitimately just misunderstand or you yourself might be wrong. How do you know? You don’t really. All this “in group” signaling doesn’t make a ton of difference. It’s just the environment of the internet honing some badly social engineered aspects that are not inherent to the human mind or social behavior.

So go read that piece. Tell me what you think. And then go enjoy being social on the internet! Don’t let being wrong or being polarized scare you. We are still figuring out how being part machine mediated. A few bumps are to be expected

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Aesthetics Chronicle Finance Internet Culture

Day 89 and The Real Fake Fendi

What is real? Do originals exist? Can we determine the source of creative genesis when we stew in the folklore of cultural memetics? A knockoff has its own reality steeped in the accretion of culture.

I was once was asked by a tourist for direction’s to find “a real fake Fendi” when I lived in Manhattan’s Chinatown. I was honestly stumped by this inquiry. Was there a fake that had inherent realness that other knockoffs did not possess? Was there a vendor who sold the most authentic mimicry of Fendi which the tourist wished to find? I had no clue how to answer. Did they mean the realness one sees on the catwalks overseen by RuPaul? But which kind of realness? The creation that evokes the spirit of its inspiration? A realness so over the top and yet absolutely true to its essence. Or perhaps the blunt direct feedback that no construction no matter how convincing is the original artifact. Is is serving realness? I honestly didn’t know. I just told them Canal was one block north.

But perhaps authenticity isn’t the issue. In drag authenticity is manufactured. In fashions’ knockoff districts the question of authenticity is a layered confect of replication adhering to the aesthetics of the original. In some cases it actually is the original conveniently lost from some faraway inventory count. The real fake Fendi might in fact be real.

I bring this all up because in Illegal.Auction’s second collection we have curated a selection of the most outrageous instances of authenticity being the commodity sold in the NFT space. None of what we have posted are originals. They are all knockoffs. But like the real fake Fendi how can you tell? What makes something original in digital spaces. All is perfectly replicable. And no we have no new answers from Benjamin’s Art in the Age of Mechanical Reproduction either. But maybe you will. You can buy a token of these real fake NFTs. Like the real Fake Fendi realness is in the eye of the beholder.

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Aesthetics Chronicle Finance Internet Culture Media Startups

Day 62 And Who Can Make Art

My ego dislikes debate, but my heart leaps at tension.

Over the weekend, my friend Phil and I decided to make a functional art installation called Illegal.Auction. The premise is simple: we are selling Fungible Tokens (or NFTs) of Culture. 

Unsettled ideas of generation and representations colliding with abstractions like finance are important issues both culturally and practically.

Art is for itself, so who cares either way. A certain dogmatic insistence that “medium is the message” is pervasive in the critiques. Are movies different than books? I don’t think they have anything to do with the price of milk. It reminds me of the classic Annie Hall scene (speaking of artistic intent and harm) where Marshal McLuhan explodes on a chattering group “you know nothing of my work.” Woody Allen’s character concludes the scene if only real life were like this. Well on Twitter you can recreate this scene everyday!

It is funny because commentary is distinct from creation. And a lot of people have takes on McLuhan that he himself doesn’t agree with. But who cares right? Interpretation of art is ostensibly art.

It’s very interesting to see just how angry people get about the worth and value of culture in particular. As if it’s some monstrosity to comment on the abstract financial value of some creation with worth that cannot be extracted.

If it were so easy to make value judgments about art then we would trade it on the Chicago exchange like pork bellies and orange juice. Not that we don’t already sell art and trade it and frankly it has been a massive tension through the history of human creation how we value that work, but now many have decided to insist that art is non-fungible. Not interchangeable on a one to one basis like an apple. And yet we are acting like everything can be valued and traded so easily with NFTs. By making art tradeable on exchanges, we have made some thing inherently non-fungible, fungible.

This is ultimately where Illegal.Auction came from. These conversations are important and transformative. That we choose to represent the tensions with representations of reproductions of jpgs of art is part of the art installation. That it is a functional sale is in inherent to the tension.

There is a part of me that is really worried that because I am not a practicing artist that is paid for work or represented in a gallery, that I don’t have a right to comment on these issues. I am a technologist and I do work in finance and the overlap of disciplines makes this an inter-disciplinary question in my mind. It seems like some people disagree with my right to create art (and certainly the morality of remuneration).

But if we insist that only artists can make art I don’t have any right to make installations remixing software and representations. But I’m not sure anyone reading this is comfortable with that world. I am not.

I think people want there to be simple yes no questions to these things. Is it legal? Did you steal? Is it a transformative remixing of a cultural artifact? Is it worth $1 million? And the truth is is that there is no easy answer to what political system is best or how much some thing is worth. Trillion dollar industries are based around the fact that we don’t have clear answers. Irate commentary doesn’t help any of us understand the infinite questions of worth and creation. It is good to do and helps further understanding but its crucial to remember indignation and moralizing is a function of ego.

Personally I don’t think that wealth has any moral value. I don’t want to have to be wealthy in order to be valuable. Or if a piece of art I make does make money do you have a right to tell me it is objectionable because this isn’t how you make money? I guess you do. Whether you can stop me from doing it is a central questions for the ages and also literally why it is important to create pieces like Illegal.Auction in the first place.

This commentary I think is worth having. Not whether speculative infinite land grabs with financial instruments make you worth more to billionaires. They probably do. That’s fine! I think people are mostly offended by the idea that non-artists can make art. Especially if a transaction takes place. If we had stamped illegal on the jpgs and blocked out NOT ART on them would it have made it better? Conceptually I’m not sure that that’s true and probably reflects the viewer’s own sense of value and worth more than a legal, political or moral reality. Also I personally think it cheapens the point just to make concessions to dogmatic insistence on ownership in a space that isn’t settled because frankly it cannot be.

Much of the narrative and coverage around NFTs is that they delineate ownership, value and origination more cleanly. I’d argue that they are actually having the opposite effect. NFT’s are ripping away edifice and abstractions that we use to assign value and worth. And that makes people uncomfortable.

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Aesthetics Chronicle Media

Day 43 and The Freeze

I’ve been watching the television adaption of Snowpiercer. So I’m delighted to have the polar vortex collapse that is chilling most of American dovetail so well with my current media aesthetics. I’ve always loved the cold.

Colorado has been in the single digits all day and will be below freezing for the weekend. I had to drive out to a doctor’s office for some treatments and was terrified I’d slip off the road at every intersection. As the sun slipped behind the flatirons a gloomy grey quickly turned into a pitch back snowstorm.

The aesthetics of disaster and apocalypse generally lean more towards heat and explosions but the subgenre of extreme cold holds our attention. Day After to Tomorrow, Snowpiercer, The Revenant, The Thing, The Grey and many other freezing fear movies capture an aesthetic.

The natural fear of cold isn’t just about freezing to death. Much of the claustrophobic feeling of cold crisis movies comes from isolation, loneliness and it’s resulting paranoia. It’s why the genre does so well when mixed with horror or action. Game of Thrones regularly intoned the threat of winter.

Freezes typically operate on bleak but wide open spaces like arctic tundra or within the confines of a station or refuge that quickly closes in on its people. Scenes of mayhem and violence come out of close quarters that are supposed to guard you from the even more fearsome freeze right outside your door.

All of this conditioning from film and television makes a weather condition like a polar vortex collapse take on a bit of an edge. I indulged in my pre-storm prepping shopping to make sure we has enough beef for stew and chickens for roasting. But that’s partially ritual. A sacrifice to the gods that says I am worthy to survive the bitter cold that is coming. It’s almost superstitious. But it’s also joyful. Humanity against the odds of Mother Nature. We’ve developed rituals and technology to live in the worst conditions.

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Chronicle Internet Culture

Day 31 and The Goal

I feel a real sense of accomplishment that I did what I set out to do; write one piece of long form content everyday for a month. Now of course having achieved my goal I would like to do it for two months straight but I’ll give myself a moment to enjoy the happy feelings that come from finishing what you set out to do.

On the first day my writing muscles felt atrophied. It has been sometime since I wrote regularly and here I was committing to do it every single night. But I was able to get into the habit and quickly found myself enjoying the routine.

The biggest change I’m noticing is a smoother less disjointed focus in my mental processes. Rather than needing to work myself up to writing or pick a topic and commit to a narrative, I now ease myself into the threads from the day and see where my imagination takes me. This mental fluidity (which requires non judgement which is a struggle sometimes) is slowly improving the quality of my thoughts. I look forwarded getting ideas on paper and tying together disparate thoughts now each day. To seeing what strange new connection might emerge from the day. Like limbic memory and crisis or the power of loosely organized crowds

I’ve also noticed a distinct uptick in the momentum of life. That a daily exercise of writing could push forward my focus shouldn’t be a surprise but nevertheless I’m seeing progress on ideas that may become a reality. Because I’m using this space to think about my investing, finance, and cultural chaos a daily writing habit means I am makings fast progress on a thesis. Writing is an excellent forcing function for seeing ideas more clearly but also for seeing if you may have the seeds for something bigger.

If you are considering a writing exercise like mine I highly recommend doing a month long commitment. Do it in public. You may be surprised by where you end up. I covered a lot of emotional ground which has been a really boost to my spirits.

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Chronicle Internet Culture

Day 30 and Aesthetic Signals

I’ve been chewing on an investment thesis for a bit.

Any of the angel investing I’ve done has mapped back to some very obvious principles in hindsight, and while I’m not quite ready to put it all out there, I’ve been doing the work to formalize it. I even bought the domain chaotic.capital.

I bring all this up because I’ve been thinking a lot about how aesthetics layer up to telegraph intellectual principles as part of my thesis work. One of the directions I’d like to consider is frustratingly expensive. In most established upper or hipster class aesthetic trends, the difference between being top half and top decile is probably the matter of only a few thousand dollars and working with someone who has taste.

The difference between top 10% and top 1%? At least a hundred grand. To really be world class takes millions.

We like to think that style doesn’t cost a whole lot of money. We give lip service to taste as an intrinsic talent. But it’s closer to being a skill developed through work and study. The people that make culture for a living have an eye for the granular details that make an aesthetic coherent. They can spot the third derivative inspired byproduct at a glance, and give its genesis to you step by step. They don’t do this to be snobs necessarily (which those who are insecure in their tastes tend to think) but simply because they cannot unsee their own aesthetic insights.

The downside to taste being partially a function of study is that if you want to adopt an aesthetic that has history, you can’t really half ass it.

This inexorably leads to new aesthetics arising and evolving simply because those with some study know they cannot afford to pursue an established aesthetic. If they did pursue something with lineage and no budget, they would need to bring an order of magnitude more taste to the whole affair. Now this doesn’t matter if you are middle of the pack. A spit and polish will do you good. But if you want to go from top ten to top one you need to invest the money and talent to get that order of magnitude.

And if you can’t? Well you probably need to pick a fresh aesthetic direction less burdened by history. Harder to pick it apart by showing it’s full lineage for one. But more crucially it gives you the space to build your own.