Blog, page 3

Jesse Frederik and Maurits Martijn:

It might sound crazy, but companies are not equipped to assess whether their ad spending actually makes money. It is in the best interest of a firm like eBay to know whether its campaigns are profitable, but not so for eBay’s marketing department.

Its own interest is in securing the largest possible budget, which is much easier if you can demonstrate that what you do actually works. Within the marketing department, TV, print and digital compete with each other to show who’s more important, a dynamic that hardly promotes honest reporting.

The fact that management often has no idea how to interpret the numbers is not helpful either. The highest numbers win.

Ben Thompson defends Facebook’s recent decision to let politicians lie in ads, arguing that free speech should be considered in terms of culture, not law.

Here are his concluding remarks:

Facebook, obviously, is not the government, and thank goodness: the fact that Zuckerberg answers to no one is deeply concerning to me. To be fair, in the case of political ads, this was arguably a benefit: I think he is making the right decision in the face of massive resistance. In the long run, though, it is very problematic that such a powerful player in our democracy has no accountability. Liberty is not simply about laws, or culture, it is also about structure, and it is right to be concerned about the centralized nature of companies like Facebook.

To that end, the fact that this debate is even occurring is evidence of the problem: those opposed to Facebook’s decision about ads wish the company would wield its power in their favor; my question is whether such power should even exist in the first place. Facebook can close Munroe’s door on anyone, and there is nothing anyone can do about it.

Ben makes a good case, but I have conflicting feelings about it. These last few moves by Twitter and Facebook have left me hopelessly lost in this debate. When does a lie become fraud?

This is one of the most incredibly delightful and mindblowing Turns Outs.

Rosa Lyster:

“Fight club is just the matrix for incels.” “Big Thief is just Fleetwood Mac for sad bois.” “The Handmaids Tale is just Harry Potter for middle aged liberals.” “Otessa Moshfegh is just Mary Gaitskill for girls who talk too much about how they sometimes miss their periods due to being so waifish and slender.” “Bob Dylan is just Joni Mitchell for men who beat their wives.” “American Psycho is just the Joker movie for older white perverts.” “ABBA is just Fleetwood Mac for middle-aged suburban housewives whose drug of choice was cocaine instead of marijuana.” “Billie Eilish is just Avril Lavigne for girls who have too many cups in their bedroom.” This is fun to do, and definitely hilarious for people who love zingers, but it also sucks, and replaces the flash of real insight with the far cheaper thrill of recognizing things. It turns a constellation of possible meanings through which we might better know each other and ourselves into a vast Extended Universe.

Damn, that’s pointed.

Fred Benenson:

When people talk about the effects of automation and artificial intelligence on the economy, they often fixate on the quantity of human workers. Will robots take our jobs? Others focus instead on threats to the quality of employment—the replacement of middle-class occupations with lower-skill, lower-wage ones; the steady elimination of human discretion as algorithms order around warehouse pickers, ride-hailing drivers, and other workers.

What’s less understood is that artificial intelligence will transform higher-skill positions, too—in ways that demand more human judgment rather than less. And that could be a problem. As AI gets better at performing the routine tasks traditionally done by humans, only the hardest ones will be left for us to do. But wrestling with only difficult decisions all day long is stressful and unpleasant. Being able to make at least some easy calls, such as allowing Santorini onto Kickstarter, can be deeply satisfying.

“Decision making is very cognitively draining,” the author and former clinical psychologist Alice Boyes told me via email, “so it’s nice to have some tasks that provide a sense of accomplishment but just require getting it done and repeating what you know, rather than everything needing very taxing novel decision making.”

Kevin Kelly:

In the coming years our relationships with robots will become ever more complex. But already a recurring pattern is emerging. No matter what your current job or your salary, you will progress through these Seven Stages of Robot Replacement, again and again:

1. A robot/computer cannot possibly do the tasks I do.
2. OK, it can do a lot of them, but it can’t do everything I do.
3. OK, it can do everything I do, except it needs me when it breaks down, which is often.
4. OK, it operates flawlessly on routine stuff, but I need to train it for new tasks.
5. OK, it can have my old boring job, because it’s obvious that was not a job that humans were meant to do.
6. Wow, now that robots are doing my old job, my new job is much more fun and pays more!
7. I am so glad a robot/computer cannot possibly do what I do now.

What happens when you get a kid from Brooklyn, a radioactive spider, and some leitmotifs and mix them all together?

Finally watched Ethan Marcotte’s talk from this year’s New Adventures conference. It’s as good as everyone said.

The sewing machine was introduced to the public in the middle of the 19th century. When it was made commercially available, it was advertised as an appliance that would free women from the routine drudgery of hand-sewing.

A few short decades later, this pamphlet said that a female operator could use a Singer sewing machine to produce 3,300 stitches per minute.

That shift in tone is really intriguing to me: as the technology improved, the messaging around sewing machines shifted from personal liberty to technical efficiency.

People are promised that technology will free them; ultimately, as the technology matures, it captures them.

I’d like to propose that what happened with the sewing machine is currently happening with the Web: that the Web is becoming industrialized in the same way that the sewing machine was.

Geoffrey James:

Neuroscience continues to uncover new ways that coffee and (to a lesser extent) tea and chocolate, tend to make brains healthier and more resilient.

When studies prove my habits are good, I believe them.

The macOS Catalina situation seems to be pretty bad. My biggest reasons for upgrading are Apple Arcade and Reminders, but in return I’d have to:

• give up Photoshop CS6
• give up a bunch of games on my Steam library
• deal with my old Aperture libraries as the app is finally broken
• learn a new shell, or replace it
• fix all the tooling stuff that will break due to the new read-only system volume
• put up with all the permission annoyances
• deal with all the damn bugs

Marco Arment’s take on ATP is right: “not enough carrot to take the stick”. For the first time ever I might actually skip a major version of macOS.

Zeynep Tufekci wonders about China’s motivations around the Hong Kong situation:

So why is China demanding significant censorship from Western companies—as in the case of this app—in the absence of a real threat? One thing to note is that while the original events being censored are minor to the point of trivial, the backlash creates a huge amount of publicity. You might be tempted to think that China has a Streisand-effect problem, in which trying to censor an event creates even more publicity. But that assumes the Chinese government doesn’t understand the Streisand effect, and that can’t be right, because if one government understands attention dynamics online, it’s China’s.

Significant amounts of scholarship show that the Chinese government has been very good at burying important news by distracting from it with other, flashy but unrelated news. This shows a subtle and powerful understanding of the Streisand effect: Instead of censoring, China diverts attention.

Nerd City:

We tested fifteen thousand common words and phrases against YouTube’s bots, one by one, and determined which of those words will cause a video to be demonetized when used in the title.

If we took a demonetized video and changed the words “gay” or “lesbian” to “happy” or “friend”, every single time, the status of the video changed to advertiser-friendly.

YouTube’s apparently unassailable dominance over web video is a real shame. I dream of a world where web video is like podcasts: a decentralized system where anyone can participate without ceding control to a giant corporation with black box policies.

Monetization is already going the way of podcasts: crowd-funding and ad reads. Big video creators just can’t afford to trust that YouTube’s ever-changing policies will be on their side. The next step is decentralizing distribution, which seems like a harder problem to solve. But we’ve done it before: let’s bring back video podcasts. Let me get my video subscriptions in my RSS reader. Let’s take video away from YouTube and give it back to the web.

Ben Thompson:

I am increasingly convinced this is the point every company dealing with China will reach: what matters more, money or values?

John Gruber summarizes Ben’s points really well:

The gist of it is that 25 years ago, when the West opened trade relations with China, we expected our foundational values like freedom of speech, personal liberty, and democracy to spread to China.

Instead, the opposite is happening. China maintains strict control over what its people see on the Internet — the Great Firewall works. They ban our social networks where free speech reigns, but we accept and use their social networks, like TikTok, where content contrary to the Chinese Community Party line is suppressed.

Worse, multinational mega corporations like Apple and Disney are put in a bind — they must choose between speaking up for values such as the right to privacy and freedom of speech, or making money in the Chinese market.

And Nilay Patel makes a great comparison:

It’s not hard to understand that carmakers in the US market build to California emissions standards because they are the strictest - it’s the most efficient choice.

Not a leap to think global companies will hold themselves to China’s speech restrictions for the same reason.

Frank Chimero:

The features of software with massive reach always have unintended consequences. For instance, social media, by making positivity easy and quantifiable, has ensured that negativity looms large. It’s become a place where we count the good things and experience the bad things.

Jeremy Keith:

Jason shared some thoughts on designing progressive web apps. One of the things he’s pondering is how much you should try make your web-based offering look and feel like a native app.

This was prompted by an article by Owen Campbell-Moore over on Ev’s blog called Designing Great UIs for Progressive Web Apps. He begins with this advice:

Start by forgetting everything you know about conventional web design, and instead imagine you’re actually designing a native app.

This makes me squirm. I mean, I’m all for borrowing good ideas from other media—native apps, TV, print—but I don’t think that inspiration should mean imitation. For me, that always results in an interface that sits in a kind of uncanny valley of being almost—but not quite—like the thing it’s imitating.

People have been gleefully passing around the statistic that the average number of native apps installed per month is zero. So how exactly will we measure the success of progressive web apps against native apps …when the average number of progressive web apps installed per month is zero?

Toy Story 4 looks incredible, almost hyper-realistic. And it’s not a simple matter of technology getting better; there is artistic intent in the imperfections that give it that edge. Among other techniques, Pixar is simulating real-world camera lenses (along with their limitations). Evan Puschak explains:

Animation has always drawn from the lessons of live action film, from the visual language of cinematic storytelling. Everyone who worked on Toy Story 4 understands that the imperfections — the way a lens distorts, or a camera operator shakes, or a light bounces — contain their own expressive potential. And when you combine these with the limitless world of animation, the results can be stunningly tactile.

I hadn’t noticed that split diopter shot — it’s brilliant.