“It’s this third person that’s not existed to any other generation [...] It’s in your head all the time.”
Social media—it's just the market's answer to a generation that demanded to perform, so the market said, here: Perform everything to each other, all the time, for no reason. It's prison. It's horrific. It's performer and audience melded together. What do we want more than to lie in our bed at the end of the day and just watch our life as a satisfied audience member? I know very little about anything. But what I do know is that if you can live your life without an audience, you should do it.”
The most effective creativity across art, culture, and marketing will be the creativity that moves us. This soul will continue to come from our humanity, and AI further unleashes this rather than replacing it.
So, the question that keeps me up at night is, what are us humans gonna do with all of our newfound time? Which brings me back to Japan, and this quaint Kyoto restaurant I found myself sitting in one evening. There were 10 seats, one chef/owner and one apprentice, and the most incredibly crafted experience. It wasn’t expensive, but everything was intentional. I found myself admiring this sensational and remarkably unscalable experience. The chef seems to make a good living, loves meeting interesting people, and gets to be wildly creative (the selection of glassware, the decor, the care and craft applied to every dish). Japan is full of these experiences, where art, curiosity, and craftsmanship yield tiny scattered wonders like “owl cafes,” micro arcades, plastic food shops, cotton candy shops, and the list goes one. I found myself wondering, why aren’t there 1000x more of these experiences in all societies? Why must the purpose of business be to scale, grow bigger, become franchises, squeeze in more seats, and compromise quality for automation and reach? Could a fundamental change in society, like mass automation and AI, spur both the growth and demand of human-intensive highly crafted unscalable experiences?
Suffice to say, the differentiator in the future will be less about who had the largest public dataset or who spent the most on compute, it will be who built and made innovative use of proprietary sources of data.
What you really want, the book says, is not to desire things but to be desired. To be found attractive in theory, to the camera, to the audience. And you measure this desire by how envious others feel of you.