âIâve been asking people how they define love,â Dacus said. âEverybodyâs answers are so interesting. My therapist had my favorite definition so farâthat love is the connective tissue between all of us thatâs easy to forget. I like that. Because it means itâs just there.â (Go listen to the new album. Itâs fantastic.)
Tim OâReilly brings the long view. âWhen thereâs a breakthrough that puts advanced computing power into the hands of a far larger group of people, yes, ordinary people can do things that were once the domain of highly trained specialists. But that same breakthrough also enables new kinds of services and demand for those services. It creates new sources of deep magic that only a few understand.â
âWithout expert intervention, the best these tools can do today is produce a somewhat functional mockup, where every future change beyond that risks destroying existing functionality.â
filtered for avoiding inauguration week
Itâs been a hell of a week. I canât stand looking at the news, and so Iâm deliberately pointing my attention elsewhere. Hereâs a Friday dump, a way to get things out of my head (and maybe into yours).
reading
Making my way through Neil Postmanâs Amusing Ourselves to Death: Public Discourse in the Age of Show Business, which I canât believe I havenât read before. // Also, Tess Guntyâs The Rabbit Hutch: âall the rhythms and repetitions and seashell whorls of meaning to be extracted from the dull casings of everyday lifeâ (NYT). And because lately truth is more depressing than fiction, Rabbit Hutch is mirrored in the sex abuse scandal at Miss Hallâs. // Rosencrans Baldwin, Cinematic. âIn the dark, for ninety minutes, we let go of our inhibitions, and thatâs a powerful experienceâthough within that give and take, if someone cries, if people run from instinct, donât they deserve respect?â // Alex Nevala-Lee, Chimes at Midnight, about visiting the Clock of the Long Now. âArriving at the primary chamber, you see the brass and quartz enclosure that protects the calculation system, the escapement, and a pendulum that completes one swing every seven seconds. The clock face itself is eight feet across. At the center is the black globe of a star field, encircled by movable rings that indicate sunrise, sunset, and the phases of the moon.â Mindblowing. // Zach Vasquez on the Startling Empathy of David Lynch. âThe films of David Lynch are strange creatures, not unlike the strange creatures that often appear within them, and to focus only on the most ungainly of their appendages is to willfully ignore their equally beautiful qualities. Even in the darkest and most terrifying of Lynchâs films, there are moments of profound beauty and warmth.â // Matt Webb dowsing the collective unconscious.
watching / seeing
Twin Peaks. Binged Season 1 last week, am now slowly making my way through Season 2. Itâs as weird and awkward and shocking as you remember. Maybe more so, with time. Also, David Lynch: The Art Life, available for free right now on Criterion. Lynchâs tobacco-stained voice is soothing, and there should be volumes written about his hair. // Amy Sherald: American Sublime at SFMOMA. The âsmallerâ pieces are hung so their subjects are basically at eye level with you; the intimacy is entrancing. // Also spent a full hour watching Ragnar Kjartanssonâs nine-screen video installation The Visitors, which has been extended through September of this year. If youâre in the Bay Area, go. Even if youâve seen it before. Even if you saw it last week. Go again. // Every bucket in Kobe Bryantâs 81 point performance from 2006. Literally a supercut. // Every Frame a Painting, Where Do You Put the Camera? Greta Gerwig on Little Women: âI almost wanted the camera to start young, and get older â like the girls did.â (Via Kottke) // Nobody does OK Go like OK Go does OK Go.
listening
New Lucy Dacus. // Old Sugar. // Anything from Claire Rousay, it seems. // Ezra Klein and Chris Hayes talking attention. // Four Tet: Three. // Sydney Ross Mitchell: Pure Bliss Forever, esp Fast Cars and Faster Horses. (âHeaven has cigarettes and Coca-Cola, hotel beds and love to borrow, mmm hallelujah.â) // Bill Ryder-Jones: lechyd Da. // Kendrick, Reincarnated, like everyone.
In Scope of Work, Spencer Wright rides along with New York Times photographer Christopher Payne, on his visits to the MTAâs repair shops.
The factories he visits are complicated, complex, kludgy. Factories take knowledge away from craftspeople and turn it into bureaucracy and institutional anxiety. Factories pollute our waterways. Factories take razor-sharp lathe swarf and try to convince us itâs jewelry; factories enlist workers to help someone else fulfill their dreams. But then Christopher Payne comes in, and he crawls around for a few months, and he finds parts of the factory that we can be purely and unabashedly proud of. I donât think that Payneâs work is asking questions at all; heâs just taking something messy, and pointing a spotlight on the honorable parts.
Virginia Heffernan interviews congressman Hakeem Jeffries about January 6th, 2021.
Heffernan: So what moments stick out to you from that day?
Jeffries: The moment that probably crystallized that we were entering into a very different space was when a Nancy Pelosi, who was on the rostrum as the speaker, was suddenly and expeditiously removed and the sergeant at arms or someone from the sergeant at arms, the staff interrupted the debate and then says that the mob has breached the Capitol. Theyâre on the second floor. There are a few steps away from the House chamber. Be prepared to hit the ground and secure the gas masks that are underneath your seats. Iâll never forget those words because I never thought that I would hear them. And I didnât even know that there were gas masks underneath each seat in the House of Representatives.
Emphasis mine.
Four years on, the framing of January 6th that resonates with me is from Jason Kottke: âthis was not an attack on the Capitol Building. This was an attack on Congress, the United States Government, and elected members of our government. It was a coup attempt.
Nick Cave, in todayâs Red Hand Files, answers the question âWhere is the hope? What is hope?â
So, what is hope, and what is hope for? Hope is an emotional temper that emboldens the heart to be active, it is a condition, a mood, an aura of being. It is a feat of the imagination, both courageous and ingenious, a vitality that inspires us to take innovative action to defend the world. Hope is essential to our survival and our flourishing.
We achieve this vitality of spirit by rejecting the relentless promotion of despair and opening our eyes to the beauty of things, however imperiled, degraded, or difficult to love the world may appear to be. We try to view the world not as it is packaged, presented and sold to us but as we imagine it could be. We do not look away from the world, we look directly at it and allow the spirit of hope â the necessary driver of change â to inspire us to action.
Bartosz Ciechanowskiâs latest epic Moon explainer / simulator / playground makes it abundantly clear to me that I never could have done physics.
Elizabeth Spiers on the rage at the U.S. healthcare system, and the understandable desire to hold someone â anyone â accountable.
When youâre stuck in the pediatric oncology ward watching your child die because insurance thinks the doctorâs recommended treatment plan is too experimental, or when youâre watching someone you love experience unremitting pain that no one will treat or pay for, or you simply find yourself buried in mountains of paperwork and bills when youâre too sick to navigate it, who do you blame? Who can be held accountable? Everyone intuitively understands that there are individual people responsible for this state of affairs and no real mechanisms to prevent them from causing harm.
Om Malikâs post on the passing of tabla master Zakir Hussain is some wonderful blogging.
No matter how much you know, you can never stop learning and evolving. What a great lesson for everyone, including those who deem themselves experts. You are almost always the student, always part of the process, and part of the collective that leads to a better placeâŠ
If youâre looking for a way in to Hussainâs work, start with this Tiny Desk performance with Bela Fleck and Edgar Meyer from 2010. Mindblowing joy.
Ev Williams on the launch of Mozi:
A lot has changed for me in the last couple years. I made a lot of new friendships and rebuilt old ones. I did a lot of growth and healing work. I now have a robust network of friends from coast to coast. Not because of an app, but because I prioritized relationships and invested the time.
I donât think technology is the answer to our most human needs. But it would be silly not to use the tools at our fingertips to serve those needs. I love seeing when I will be in the same place as people I care about via Mozi.
If weâre in each othersâ address books, Iâll see you on Mozi. ;)
Ben Thompsonâs long piece on Intel is a fantasic read, starting with the history of CISC v. RISC computing, moving on to the rise of mobile and why Intel lost that battle, through the companyâs current management and board struggles and ends with a call for the US government to save Intel in a Manhattan project to develop AGI.
If the U.S. is serious about AGI, then the true Manhattan Project â doing something that will be very expensive and not necessarily economically rational â is filling in the middle of the sandwich. Saving Intel, in other words.
Start with the fact that we know that leading AI model companies are interested in dedicated chips; OpenAI is reportedly working on its own chip with Broadcom, after flirting with the idea of building its own fabs. The latter isnât viable for a software company in a world where TSMC exists, but it is for the U.S. government if itâs serious about domestic capabilities continuing to exist. The same story applies to Google, Amazon, Microsoft, and Meta.
To that end, the U.S. government could fund an independent Intel foundry â spin out the product group along with the clueless board to Broadcom or Qualcomm or private equity â and provide price support for model builders to design and buy their chips there.
âŠ
This is all pretty fuzzy, to be clear. What does exist, however, is a need â domestically sourced and controlled AI, which must include chips â and a company, in Intel, that is best placed to meet that need, even as it needs a rescue. Intel lost its reason to exist, even as the U.S. needs it to exist more than ever; AI is the potential integration point to solve both problems at the same time.
Emphasis mine.
Sally Rooney, in conversation with Merve Emre in The Paris Review.
Iâm hesitant to get into my own psychology, but Iâm aware that for me, writing novels is a way of preventing or being in denial about the passing of time. The years I spent on this book passed, and I can never have them back, but I do have the book. Itâs like Iâve stored that time in a jar, like it can never quite get away from me, because itâs in there. There is a sense of pouring life into the novels and feeling like I get to live the lives of my characters. It does give me a doorway out of the world where time passes, as it does for all of us, into a world where I get to control the passing of time.
Via Kottke, emphasis mine.
Robin Sloanâs 2024 gift guide. In praise of freshness. In praise of intention. In praise of lineage. In praise of candor. In praise of invention. In praise of quality. In praise of danger. In praise of wonder. In praise of strangeness. In praise of propaganda. In praise of whompitude. In praise of utility. In praise of lightness. In praise of repair. In praise of warmth. In praise of doing it yourself.
Steven Johnson turns his latest book into an interactive detective game, as a way to illustrate whatâs possible when LLM context windows get bigger:
What youâve just experienced is an interactive adventure based on the text of my latest history book, The Infernal Machine. At its core, the game relies on three elements: the original text from my book; a large language model (in this case, Gemini Pro 1.5); and a 400-word prompt that I wrote giving the model instructions on how to host the game, based on the facts contained in the book itself. You could take any comparable narrative textâfiction or nonfictionâand create an equally sophisticated game in a matter of minutes, just by slightly altering the wording of the prompt.
âŠ
The fact that a machine now has the ability to transform linear narratives into immersive adventures has significant implications for both education and entertainment. Iâve generated a similar game just with the Wikipedia entry for the Cuban Missile Crisis. (You play as JFK trying to avoid nuclear war.)
Margaret Kilgallen: âMy hand will always be imperfect, because itâs human.â
Glorious.
Sparker, To love is to be inconvenienced.
I worry sometimes that we forget we are supposed to be inconvenienced by one another; thatâs what it means to live in a functioning society. Weâre meant to take turns bearing the burden so that others show up for us when we need it â and that means that we have to show up, even when we donât feel like it.
Maybe especially when we donât feel like it. ⊠Living in A Society means bumping up against other people who are different from you and learning how to get along well enough. Itâs messy. Itâs inconvenient. It means weâve got to give each other a lot of grace when our ideas for how to achieve a common goal donât totally align. It means we have to look within ourselves and ask if we are putting our own comfort above someone elseâs right to live.
Emailâs been here for years. But the reason Substack wants you to call your creative work by their brand name is because they control your audience and distribution, and they want to own your content and voice, too. You may not think you care about that today, but you will when you see what they want to do with it.
This is me posting to a thing that is 100% absolutely not my Substack.
Oliver Burkeman, author of the self-help productivity philosophy book Four Thousand Weeks, Time Management for Mortals, in his newsletter today:
I donât need these peopleâs psychodramas in my head anymore. The closest thing to a political point I want to make is that Iâve dedicated far too much brain-space, in recent years, to marinating in the psyches of the angry, cynical and damaged men currently ascendant in our politics â which is basically what youâre doing when you spend time on Twitter, idly surf online media, or consume most TV news. Iâm not talking about people in general here. Weâve lots of work ahead to try to understand how large swathes of the population â people like us, in so many ways, who love their kids, and so on â could embrace viewpoints we find so bewilderingly abhorrent. And weâre going to have to be willing to accept the possibility that some of the failings might be, at least partly, on us. But these tasks wonât be aided in any way by remaining addicted to the feuds and fragile egos of the demagogues at the top, or their hangers-on in the commentariat, and the shocking things they say for attention and money. We canât ignore the deep societal problems that have fueled their rise. But we absolutely can choose to excise from our lives all their distracting psychodramas, their whiny podium speeches, social media bloviating and related bullshit (which includes, by the way, the output of many of those building media empires by railing against them, too).
Emphasis his. Also mine.
Craig Mod votes from Japan.
I slammed my ballot down and shoved it into an EMS international airmail envelope and gleefully paid thirty fregginâ bucks or so to get that sucker to my utterly blue state knowing damn well that that vote wonât tip the scales in any meaningful way. And yet. And yet â AND. YET. â I wanna be on that ledger. Goddamn, you bet I want to be on that ledger. What else is there but the ledger in a moment like this? Pull the lever, cast your tiny pebble into it all and hope things add up. De minimis? Hell no. At the very least, youâll be present on the cosmic scale, a little number at the end of a bigger number â one that wouldnât have been quite as big without you. Thatâs not nothing, and when your grandkids asked what you did right now â in this mythic time of madness and infinite resources all seemingly used in the wrong ways, facing the wrong directions, directed at the wrong people â you can at least say you were present, doing the smallest of things you could in whatever way you could. Tick.
In this mythic time of madnessâŠtick. Tick. Tick.
Rosencrans Baldwin sits on a Los Angeles street corner, practicing sixty minutes of focus aerobics. Traffic, planes, stoplights, graffiti, people walking by clutching things.
So many folks also openly clutch their phones. At least seventy-five percent of the women during the hour, and maybe a quarter of the men. Question: do you also find it silly to call our smartphones âphonesâ or âcell phones,â when thatâs hardly their use anymore?
Maybe we need to invent a word for slot machine/anxiety-induction device. Or just call them drugs.
Iâll go with drugs.
Ben Thompson dissects Netflixâs earnings reports in todayâs update, and I absolutely loved this chart, plotting revenue against content cash flow.
For many years Netflixâs investment in content growth tracked its revenue growth; as you can see on this chart, though, the key switchover happened around 2018, when Netflixâs content costs stabilized at around $4 billion per quarter. And, guess what happens when you keep costs steady but revenue continues to grow? You get expanding margins, and you start to look a bit more like a tech company.
Thompson goes on to compare and contrast Netflixâs âpay up front for contentâ model with YouTube (and Spotifyâs) model, where content costs are directly connected to revenue.
YouTube has much more theoretical upside for creators: a hit video can generate millions of dollars on its own. That payout, though, is much less certain; that means the smartest approach is contant production, both to increase the chances of a breakout and also to build up a presence in usersâ algorithms that delivers a baseline amount of viewing. That can make for compelling content, to be sure, but Netflix is right that its not really suited for more highly produced high cost offerings.
You can, if you squint, see the classic Internet barbell concept here: on one hand you have a large platform [Netflix] that, thanks to its large user base, can provide funding with a fixed upside to creators; on the other you have a large platform [YouTube] that, thanks to its astronomically large userbase, can provide huge variance in outcomes. One wonders how much room there is in the long run for something in the middle, i.e. the old Hollywood model, where creators could make ambitious projects with a lot of funding and still get a share of the upside. On one hand the companies stuck in the middle need these models, because they need to produce content at a somewhat lower cost; on the other hand, if they keep giving away upside they may never grow big enough to overcome the distribution advantages Netflix has by getting to scale first.
Ezra Klein makes the argument that what is wrong with Donald Trump is his complete lack of inhibition. Itâs a long essay, and I encourage you to listen instead of read, because the audio clips interspersed are reliably jaw-dropping. Kleinâs conclusion â that this disinhibition is incredibly dangerous because heâs planning on removing all the checks on his power â is spot on, and terrifying.
This bit really hit; emphasis mine.
Over the years, I have interviewed I donât know how many politicians. Talking to them is different from talking to anyone else. Itâs why I donât just fill this show with them. Politicians are inhibited. Before anything comes out of their mouth, they are running their response through this internal piece of software. Some of them are really good at it. Pete Buttigieg, Bill Clinton, Barack Obama â the software is so fast and efficient as to be almost seamless.
The politicians we sense to be inauthentic â itâs often that the software is slower and buggier. You can see the seams. You can watch the calculations happening in real time. But what that software is doing is inhibiting. It is running their words through a filter of what they shouldnât say, given who they are and what they are doing and the weight their words carry. If your words move markets and launch missiles, you choose them carefully.
But there is something undeniably electric to watch someone unchained from the bundle of inhibitions the rest of us carry around. Watching someone just say it. There is something aspirational about it. What if I was without fear, without doubt? And if I canât be without fear, if I canât be without doubt, what if I could at least be led by somebody who was? Protected by somebody who was? Fought for by somebody who was?
It is Trumpâs absence of inhibition that makes him a great entertainer. It is Trumpâs absence of inhibition that makes him feel, to so many, like not a politician â the fact that he was already the U.S. president notwithstanding. It is why the people who want to be like him â the mini-Trumps, the Ron DeSantises and Blake Masterses and Ted Cruzes â canât pull it off. What makes Trump Trump isnât his views on immigration, though they are part of it. Itâs the manic charisma born of his disinhibition.
Even if itâs real itâs fake, courtesy of Charlie Warzel.
The images of Trumpâs McDonaldâs stuntâin which he jiggled the fryer and handed burgers out of a window yesterdayâare uncanny. Thereâs Trump, face contorted in the appearance of deep concentration, tilting a fry basket to the heavens; Trump hanging two-thirds of the way out a drive-through window, waving like a beleaguered Norman Rockwell character; Trump, mouth agape, appearing to yell into the middle distance of a fast-food parking lot. The shadows of the McDonaldâs kitchen, the interplay between the sheen of the stainless steel and the cast of the nugget-warming lights, give the very real photos a distinct Midjourney aesthetic. ⊠In his own way, Trump has shown us all the limits of artificial intelligence. Computers, at least for now, cannot quite capture the crushing surreality and maddening absurdity of modern electoral politics.
I finally got around to reading Mandy Brownâs excellent Coming Home. Thereâs a lot in here that Iâm chewing on, including the feeling that she describes in the ledeâŠ
Iâve written before about the restlessness inherent to screens, the inability to ever linger or pause or catch your breath. Itâs a strangely disembodied experience, a sense of ceaseless, rustling motion when nothing is moving at all: electrical pulses flash and gasp beneath the oceans, your mind strains to catch up, your body remains still save for a few twitching digits, the shell thatâs left behind when your spirit evacuates for the mirage of higher ground. We become as smooth and reflective as the screen itself, all glassy surfaces and metallic edges obscuring the hollowness within. No need to fantasize about what it might be like to upload your consciousness to the machine â most of us are already there.
Virginia Heffernan on the counter intuitive sin of despair:
But another way to see despair, in secular terms, is as a profoundly counter-adaptive philosophical position. Having no hope puts a living being in a terminal state. Why eat, if you have no hope of satiety? Why see people, if you have no hope of love or friendship? Why bathe or see the sun, if you have no hope for health? Why do anything but dull the pain and wither?
In our democracy, despair is also a hazard. If too many people despair, and start making the despair calculationâthe why-bother, nothing-matters calculationâwe find ourselves with an unsteady, unpredictable population who have given up faith in our collective American project. The despairing themselves might see themselves as harder to subjugate, and theyâd be right. But fulfillment and joy and the pursuit of happiness are closed off to them too.
And just as individuals in despair canât be brought around to hope or wellbeing by argument, or carrots and sticks, a despairing population canât be brought around to sound citizenship with appeals to reason, passion, moral principles, or even self-interest.
For obvious reasons, I love this Syllabus Project from Rena Tom.
This syllabus explores the concept of fake objects, defined as material replicas of originals that are absent, fictional, immaterial, or otherwise unobtainable. Fake objects are created to satisfy the desire for things that never were. Their worth is not necessarily tied to the rarity of the original or the fidelity of reproduction. Value is found through fakeness, not in spite of it, giving the fake object the potential to be even better than the real thing. Weâll first look at what fake isnât, then investigate examples of fake objects used to celebrate, mourn, and preserve moments in time.
Real dolls, the Cayce Pollard jacket, joss paper Gucci bags, fake melting ice cream cones, crocheted representations of coral reefs. Fantastic.
Not a new theory, but the golden age of streaming really was a ZIRP thing. I mean, Patriot anyone?
RIP Cool Rick.
I saw the Jenny Holzer show at The Guggenheim this week; close friends will know that I have a strange relationship with her work. The exhibition, which closes next week, is sort of a reprise of her groundbreaking show there in 1989. Hereâs Roberta Smithâs review in the Times from December of that year (emphasis mine):
Ms. Holzer has been given the run of the Guggenheim, or more precisely half of it, and she has come up with a trio of installations that nearly strips the building of art yet fills it in her own way. She has focused her activities almost entirely on the Guggenheimâs great tiered atrium, leaving the walls of its coiled ramp bare. The museum has never looked, nor felt, quite like this.
In effect, the building has been turned into a vast darkened cave with glowing embers at its center: a 535-foot-long moving message that snakes its way around the first three tiers of the museumâs coil, offering a retrospective of Ms. Holzerâs writing as it goes.
This mixing of Ms. Holzerâs different texts emphasizes the range of her writing and the different voices she has called into service. She can offer wise words to live by, put you in touch with your most private memories or make you fear for the future of the planet.
In addition to the meaning of her words, there is the perceptual power and wonderful spatial disorientation of their upward-circling stream, which are heightened by shifts in color, typeface, speed and, upon occasion, direction. Standing on the ramp with the words moving above and below, the viewer feels like a small blip in some giant video game. As one moves down the ramp, the words circle at about the same pace - an effect that proposes each viewer as the center of a slowly revolving universe.
Fast forward to 2024, and the Guggenheim appears to have made some upgrades. Hereâs Sarp Karem Yavuz in The Art Newspaper:
While the museum statement heralds Installation for the Solomon R. Guggenheim Museum as a significant archival project that involved reverse-engineering the LED screens used in 1989, the entire activity seems to eschew any practical consideration in favour of laborious reverence⊠or perhaps a kind of insistence on authenticity. Like a VHS-tape filter on a TikTok video, despite mimicking the form of the older installation, the new and improved LED screens feel lacklustre in their nostalgia. In 1989, using inherently commercial LED-screen technology to reimagine the Guggenheimâs exhibition capabilities was refreshing and innovative. This time around, the hardware is neither vintage enough to be quaint nor cutting-edge enough to be a commentary on technology or capitalism today.
Back to Smith in 1989:
While the moving-message piece is the exhibitionâs main event, it is balanced by two installations using carved benches that provide a needed sense of stillness. On the ground floor of the atrium is a large circle formed by 17 red granite benches that suggests an ancient campfire or a church meeting. In the two-story gallery at the beginning of the rampâs first tier, 27 white granite benches are placed in closely regimented formation like markers in a crowded cemetery. Carved with phrases that also appear in the moving-message sign, these bench works, as they might be called, point to the ancient communal rituals of storytelling and mourning that inspire much of Ms. Holzerâs work.
I wish the museum curators had reprised not only the snaking text work up the museumâs coil, but also what appears to be remarkably daring restraint with the rest of the 1989 show. I loved this yearâs main event, but the walk up the ramp was forgettable. I donât think Lee Quiñones added much of interest to the wall full of Inflammatory Essays; the Trump Tweet pieces were painfully obvious; the redaction paintings didnât work in the odd Guggenheim galleries. Honestly if youâre in New York, you should step into the museum lobby, admire the snaking Light Line, snap a few pics for the âgram, and head to the Met.
Iâll never stop loving her work, though. For me, Holzer is all about the truisms. Hereâs what New Yorker critic Jackson Arn had to say in his review from this year.
âTruisms,â a cycle of almost-aphorisms that Holzer began scattering across New York in the late seventies, has no signature color or typeface or look of any kind, with the upshot that it can thrive anywhereâwalls in SoHo, T-shirts, Spectacolor signs in Times Square, a Vegas marquee, a Qatar airport. The words speak with the authority of whichever billboard theyâve crashed, only to squander it on advice that is either too obvious or too obscure to help us. What they reveal is not capitalismâs secret messaging so much as an absence of all messages, nothing but surfaces desperate for eyeballs.
Iâd tell you to follow @jennyholzer on Twitter, but talk about surfaces desperate for eyeballsâŠ
Greg Allen goes deep on Untitled (Yellow and Blue), a Mark Rothko painting from 1954 that is coming up for auction this fall. His write up of the provenance could be a treatment for a Wes Anderson movie.
Untitled (Yellow and Blue) is one of nine Rothko paintings Bunny and Paul Mellon acquired from Marlborough Gallery beginning in 1970, immediately after the artistâs death, and so right in the thick of the fiduciary malfeasance that prompted Rothkoâs children to sue.
Some time between Paulâs death in 1999 and 2006, when it was shown at the Palazzo Grassi, Bunny sold the painting to François Pinault.
In June 2013, Pinault sold it through his auction house, Christieâs, along with a Fontana, to Eric Tan, a cutout for Jho Low, the Malaysian money launderer. [According to the Feds, the $79.5 million invoice was $36m for the Fontana, and so $43m for the Rothko.] In October 2013, Tan gifted the works, along with a $3 million Calder, to Low, with three copy & pasted âgift letters.â
In April 2014 Low borrowed $107 million from Sothebyâs Financial Services, pledging up to $285 million in artworks as collateral, including the Rothko, then he instructed them to sell artworks until the loan was repaid. Sothebyâs put the Rothko in their May 2015 Modern/Contemporary sale, where it was purchased by Russian oiligarch Farkhad Akhmedov for $46.5 million as part of his attempt to conceal $600 million while divorcing his wife Tatiana Akhmedova.
Tatiana was awarded title to the Rothko, other art, a yacht, and an apartment, in 2016, but some of the assets had been secretly transferred to the feuding coupleâs son, and in 2020, she was still suing to receive them. When Sothebyâs publishes the updated provenance, perhaps weâll know if Tatiana is the present seller.
I loved the Anna Wiener profile of Grant Petersen, founder of Rivendell Bicycle Works. Wiener has a way with paragraphs.
About halfway through the ride, I came to a fork in the road. I didnât know which path the others had taken, and I stood for a while, appreciating the shade of the oak trees, the quiet, the bandanna crisping around my neck. I tried to channel an essay of Petersenâs, written in 2002, on what he calls âunderbikingâ: taking a bike somewhere it isnât obviously built to go. âRiding an UB changes how you look at any terrain,â he wrote. âYou ride where it lets you ride, walk when it wants you to, and rely more on your growing skills than on the latest technology.â This struck me as a harmonic way of moving through the world â not my way, but whatever. I pushed off, found the group, and followed them down a steep, exhilarating slide. Dry earth sputtered against my calves. I loosened my hold on the brakes. Even in the heat, with friction shifters I didnât understand how to use, I felt a flicker of my favorite feeling: competence. The wide tires were emboldening; the saddle height was psychologically fine. It was by far the longest, heaviest bicycle I had ever been on, and it moved with a surprising grace.
File under: land art, 2024 edition. Cards Against Humanity is suing Space X.
Seven years ago, 150,000 people paid us $15 to protect a pristine parcel of land on the US-Mexico border from racist billionaire Donald Trumpâs very stupid wall. Unfortunately, an even richer, more racist billionaire â Elon Musk â snuck up on us from behind and completely fucked that land with gravel, tractors, and space garbage.
From the complaint:
SpaceX and/or its contractors entered the Property and, after erecting posts to mark the property line, proceeded to ignore any distinction based upon property ownership. The site was cleared of vegetation, and the soil was compacted with gravel or other substance to allow SpaceX and its contractors to run and park its vehicles all over the Property. Generators were brought in to run equipment and lights while work was being performed before and after daylight. An enormous mound of gravel was unloaded onto the Property; the gravel is being stored and used for the construction of buildings by SpaceXâs contractors along the road. Large pieces of construction equipment and numerous construction-related vehicles are utilized and stored on the Property continuously. And, of course, workers are present performing construction work and staging materials and vehicles for work to be performed on other tracts.
And I know this is just boilerplate, but after you read the whole complaint itâs really satisfying to read this:
CAH demands a trial by jury.
Having very recently experienced Doug Wheelerâs Day Night Day, I can report that it is absolutely mind-blowing.
Upon entering the gallery, the viewer first encounters two luminous, rectangular thresholds or âwallsâ of light, which function as points of entry into an expansive environment that simulates the experience of limitless space, or a âganzfeld,â where light appears to shift from day to night and back again. The viewerâs perception is heightened to a degree in which, as the artist articulates, âspace appears as a volume, almost as matter.â
On view in New York until October 19th. Go.
Dynomight does a deep dive on consciousness.
I guess life makes sense: For some reason thereâs a universe and that universe has lots of atoms bouncing around and sometimes they bounce into patterns that copy themselves and then those patterns go to war for billions of years and voilĂ â you.
But consciousness is weird. Why should those patterns feel like anything? We understand life in the sense that weâve worked out the ruleset for how atoms bounce. The ruleset that produces consciousness is a mystery.
I loved this bit.
Say I scan your brain and upload it into a computer that simulates the physics of every neuron. I then hook that simulator up to a you-shaped robot with cameras that mimic your eyes and microphones that mimic your ears. Finally, I ask the robot, HOW ARE YOU FEELING?
What will it answer? I assume something like, CONSCIOUS. TOTALLY CONSCIOUS! AM I A ROBOT? IF IâM A ROBOT PLEASE LEAVE ME ON.
How could the robot not claim to be conscious? After all (1) thatâs what you would say, and (2) youâd do that because of the laws of physics operating inside your brain, and (3) the robotâs behavior is governed by the very same physics, just simulated.
By the way, if I am a robot (non-zero chance of this, TBH) please leave me on.
I like this framing of product opportunites from Jason Fried around âquestions and answersâ instead of âfeatures and benefits.â
When making products, you can think of them as a collection of features or answers.
Some people may say âyou mean features or benefits?â No, I mean answers. Answers are counterpoints to questions people have in their heads. Answers fill holes, answers snap into sockets. Benefits donât have such places in peopleâs minds.
For example, you could make a feature that shows you which tasks are overdue. Or, you can build something that answers the question âWhatâs late?â
Emphasis mine.
Iâm tired of the song of the summer, itâs time for the song of the fall, âTheyâre Eating the Dogs, Theyâre Eating the Cats.â
Never mind the fact that my one year old iPhone 15 wonât run a bunch of the new Apple Intelligence features when theyâre eventually shipped in iOS 18, M.G. Siegler nails the word salad around Appleâs announcements this week, in Apple Needs an Editor 2:
âŠPresenters during the event this week were doing oral gymnastics so as not to verbally trip over talking about the iPhone 16 powered by the A18 and the iPhone 16 Pro Max powered by the A18 Pro running iOS 16. Which can now be paired with the AirPods 4, powered by the H2 chip. But they also still work with the AirPods Pro 2, which remain more premium than the AirPods 4, despite the naming scheme and also having the H2 chip. Both are also less premium than the AirPods Max â not the AirPods Max 2, which donât yet exist â even though it only has the H1 chip. Meanwhile, the Apple Watch Ultra 2 also isnât the Apple Watch Ultra 3 this year, but is now available in black. Sorry, âSatin Blackâ. Not to be confused with âJet Blackâ or âSpace Blackâ or âSpace Grayâ (which is basically black) or âMidnightâ. That premium smartwatch still features the S9 chip, while the Apple Watch Series 10 features the S10 chip. Both of these will soon run watchOS 11.
16 Pro, 16, Series 10, 4, Ultra 2, Max, Pro 2, A18, 16 Pro Max, A18 Pro, 16, H2, H1, S9, S10, 11. What the hell is goin on? This all reads like a riddle that Desmond on Lost must not forget.
And just because I canât pass up an opportunity to embed a LOST clip, hereâs the riddle in question.
Via Werd.io, David Allen Green of The Law and Policy Blog does a close reading of Taylor Swiftâs endorsement.
In essence: this endorsement is a masterpiece of practical written advocacy, and many law schools would do well to put it before their students. ⊠Like any good advocate, Swift is careful to make the listener or reader feel that it is their own decision to make, and again this is skilfully done:
âIâve done my research, and Iâve made my choice. Your research is all yours to do, and the choice is yours to make.â
Note the rhythm: I, I, you, you, you.
The most effective persuasion is often to lead the listener or reader to making their own decision â and to make them feel they are making their own decision.
Absolutely worth reading in full.
From Artsy, Julie Mehretu to create facade work for Obama Presidential Center.
Uprising of the Sun spans 83 feet by 25 feet and features 35 painted glass panels. This installation is directly inspired by Obamaâs speech in 2015 commemorating the 50th anniversary of the Selma marches in Alabamaâa key moment in the civil rights movement. In fact, Mehretu initially started this work with an image of Obama and the late U.S. representative John Lewis crossing the Edmund Pettus Bridge in Selma during the anniversary in 2015. She manipulated this image using various digital mapping and design tools while adding elements from Robert Seldon Duncansonâs Land of the Lotus Eaters (1861) and Jacob Lawrenceâs screenprint Confrontation on the Bridge (1975). Another inspiration is Ethiopian artist Afewerk Tekleâs giant stained-glass window in Africa Hall in Addis Ababa, where the artist was born.
I love her work, and Iâm very excited to see this once itâs complete. Hereâs a rendering:
Love this post from Rex Woodbury about eggs & instant cake mixes, the IKEA effect, and how product teams are working to figure out just how much human should be in the loop of AI-heavy product features.
Over time, as we see AIâs application layer evolve, I continue to feel strongly that the egg theory is a crucial lesson. A key question for builders right now: how much human involvement is too little, how much is too much, and how much is juuust right? As we become accustomed to using AI, we intuitively search for the Goldilocks productâthe product that delivers just enough automation, yet just enough control.
I know youâre probably full up on the news this morning, but Heather Cox Richardson has a fantastic summary of last nightâs debate, and all of the pre-debate ad spots the Harris campaign ran to get his blood boiling before they even took the stage.
The question for Democratic presidential nominee Vice President Kamala Harris in tonightâs presidential debate was not how to answer policy questions, but how to counter Trumpâs dominance displays while also appealing to the American people.
She and her team figured it out, and today they played the former president brilliantly. He took the bait, and tonight he self-destructed. In a live debate, on national television.
Iâm not on Instagram, so a friend texted me a screenshot of Taylorâs endorsement. Like everyone, I cackled at the closing line, âChildless Cat Lady.â Now itâs time for the Kelce brothers to step up.
Scott Chacon, co-founder of GitHub, on Why GitHub Actually Won:
We cared about developers. But it wasnât about when [our competitors] added Git, it never really mattered. They never had any taste. They never cared about the developer workflow. They could have added Git at any time and I think they all still would have lost.
You can try to explain it by the features or âvalue addsâ, but the core takeaway that is still relevant to starting a startup today is more fundamental than if we had an activity feed or profile page or whatever. The much simpler, much more fundamentally interesting thing that I think showed in everything that we did was that we built for ourselves. We had taste. We cared about the experience.
What I love about this is he links to the classic Steve Jobs interview where Jobs blasts Microsoft (who now owns GitHub) for not having any taste.
Michael Lopp (aka Rands) on founder mode:
Youâve heard of the stories of sucessful founder because theyâve become famous (or infamous). However, the majority of start-ups fail. No one tells and retells the stories of these companies because they never launch. No one became rich or famous. It is their defining characteristic. In his recent essay, Paul Graham talks about the successful founders. However, itâs not âFounder Mode,â itâs âSuccessful Founder Mode.â Lumping all Founders together would mean we should â statistically and more descriptively â call this âFailing Founder Mode,â which is neither clever nor inspirational.
As a person deeply in love with naming things, I like the framing of Founder and Manager Mode because itâs clever and instantly useful. If youâve been reading me over the years, youâve noted Iâve begun to detest the term manager for some of the reasons Graham highlights: unfamiliar with the details management at a distance, lousy hiring, and siloed decision-making. Iâve gravitated towards the word leader both because I want to make it clear any motivated human can execute the skills of a good manager â leadership comes from everywhere â and, more importantly, I believe managers tell you where you are. Leaders tell you where you are going. Itâs a philosophy thing.
Kieran Healy cuts deep:
Hi Iâm Paul Graham and Iâm here to talk to you about the unfathomable wisdom of sampling on the dependent variable. If you disagree with me this is itself evidence that you are incapable of thinking in Founder Mode.
I loved The Interview with Will Ferrell and Harper Steele, about their friendship, their upcoming road trip documentary, Steeleâs transition, and their collaboration at SNL:
Ferrell: My last year on the show, we would have blue notecards of sketch ideas and itâd be like: âHarper, you have to write a sketch called âTaco Time.â Go!â
Steele: Youâre forgetting a key element that speaks to this perfectly. âTaco Timeâ is a perfect example, or âUnicorn Mountain.â I would write the first half and then hand it to Will. So I donât know what heâs gonna do with the sketch. It was always a left turn.
Ferrell: âUnicorn Mountainâ was a song that led off the sketch and it basically set the premise of being a childrenâs show. Itâs Unicorn Mountain where unicorns live in unity and harmony and they bring joy and theyâre magical and theyâre fun and letâs all go to Unicorn Mountain. Then we open on myself and Tracy Morgan and â this is Harperâs half â weâre eating a unicorn. Weâre talking about how delicious the unicorn was and how easy it was to trap it and kill it because it was so benevolent and sweet and kind and I felt a little bad when we killed it but god this is good unicorn.
George Saunders on getting the water to boil in a story:
We might, for simplicity, think about those first five minutes of a movie, and in particular, that first incident that tells you what the film is âabout,â or âwhat you should be wondering.â For me, itâs a bit of an âahaâ feeling, kind of like, âAh, I see. Oh, this could be good.â
Elsewhere Iâve described this as the moment when the path of the story narrows.
One way of thinking of it, in terms of the famous Freytag Triangle: the water starts boiling when the story passes from the âexpositionâ phase, into the ârising actionâ phase.
A story made up of all non-boiling water is perennially stuck in the âexposition phase.â We might think of this as a section where the components are joined by a series of âand alsoâ statements. âThe house looked like this and also the yard looked like this and also the family was made of five members (and also, and also).â
(At this point, the reader may ask the Seussian question: âWhy are you bothering telling me this?â)
Basically, itâs a world without (letâs call it) time-based complication. Nothing started happening at a certain point and then changed everything.
I sometimes joke with my students that, if they find themselves mired in this purely expositional mode, they should just plop this sentence in there: âThen, one day, everything changed forever.â
Then the story has to rise to that statement and, voila: boiling water.
I love his description of âthe moment when the path of the story narrows.â When the scene setting ends and the writer works to focus your attention, and starts to bring the water to a boil.
Kieran Healy from 2019, Rituals of Childhood.
The United States has institutionalized the mass shooting in a way that [sociologist Ămile] Durkheim would immediately recognize. As I discovered to my shock when my own children started school in North Carolina some years ago, preparation for a shooting is a part of our childrenâs lives as soon as they enter kindergarten. The ritual of a Killing Day is known to all adults. It is taught to children first in outline only, and then gradually in more detail as they get older. The lockdown drill is its Mass. The language of âActive shootersâ, âSafe cornersâ, and âShelter in placeâ is its liturgy. âRun, Hide, Fightâ is its creed. Security consultants and credential-dispensing experts are its clergy. My son and daughter have been institutionally readied to be shot dead as surely as I, at their age, was readied by my school to receive my first communion. They practice their movements. They are taught how to hold themselves; who to defer to; what to say to their parents; how to hold their hands. The only real difference is that there is a lottery for participation. Most will only prepare. But each week, a chosen few will fully consummate the process, and be killed.
Via @ranjit, shonkywonkydonkyâs complete Radiohead cover album, OK Computer but everything in my voice. âAirbagâ broke my brain, but by âExit Music (For a Film)â I was hooked.
Highly recommended: the latest episode of The Ezra Klein Show with Jia Tolentino (author of Trick Mirror, a book Iâve probably recommended more often than any other in the last few years) about parenting, pleasure, psychedelics, reading, attention, smart phones and Cocomelon. This exchange hit home, emphasis mineâŠ
jia tolentino: And it sometimes feels to me not that weâre turning away from the mess and the wonder of real physical experience, despite the fact that itâs precious. I kind of feel something within me sometimes that itâs too precious. Itâs too much, that being present is work, in a way, that itâs this rawness, and itâs this mutability. It requires this of us and a presence. That is something that I have sometimes found myself flexing away from because of all the reasons that itâs good, in a weird way. Have you ever â do you know what I mean at all?
ezra klein: I absolutely know what you mean in a million different ways. I mean, I was a kid. Why do I read? I mean, now I think itâs almost a leftover habit, but I read to escape. I read to escape my world. I read to escape my family. I read to escape things I didnât understand. And I read obsessively, constantly, all the time, in cars, in the bathroom, anywhere.
tolentino: Totally.
klein: Because it was a socially sanctioned way to be alone.
tolentino: Right.
klein: And nobody would bother me because it was virtuous for me to be reading.
Nim Daghlian summarizes what they took away from XOXO (again, driving my RAHMO). I particularly appreciated this particular bit from Darius Kazemi about the definition of âindie.â
Darius Kazemi says âIndie is just an economic descriptorâ in his funny, insightful talk about the highs and lows of trying to make it building independent projects and communities on the internet, in part as a followup to his 2014 talk âHow I Won The Lotteryâ This was to say that itâs a way of existing in the market, rather than a coherent aesthetic or a value system, and it can be liberating or fuck you up in equal measures.
And I also liked this:
I feel like all these conversations and calls to action I hear have this in common; theyâre calling for an active and critical engagement with the internet â what we put on it, how we build it, and how we use it to connect with other people. For some people that means writing your own CMS from scratch and federating all your posts to multiple services. For others it might mean making a mutual aid Facebook group. Or maybe just starting a text thread with friends.
Both of these snippets are refreshing in their âdifferent strokes for different folksâ vibes. Because there is no one right way to internet.