framsteg med svenska

Well, time flies, doesn’t it?

Just a few days out from hitting a 500-day streak on Duolingo’s Swedish course, for which I completed the whole ‘tree’ a few months back. Duo veterans will be aware that a ‘streak’ can have gaps in it—you can buy yourself days off with the in-game currency (the little red gems, there), which you earn by completing various levels and daily practice targets. But even so, I’d estimate I’ve rarely dropped more than one day in every week, and 500 “on” days still translates to a pretty impressive amount of time spent practising: assuming around 20m per session, that’s around 165 hours.

It’s paid off, too! I’m just about to head over to the School of Languages for my first actual formal Swedish lessons, provided by my host university, and I’ve managed to blag my way into starting at level 3, which apparently correlates to level B1 in the standardised European language competence scale. Not bad at all, considering I’ve learned most of what I’ve learned through solo practice… though the exam I took was all reading comprehension and writing, which plays to not only my having learned via Duo so far, but also my innate biases. I suspect my listening and speaking skill levels about to be shown to be way behind that level…

But hey—gotta push yourself if you want to learn, right? Right! So I’ve bought my (bloody expensive!) textbooks, and I’m off to get stuck in…

a Rube Goldberg machine made of fucking corpses

Plenty of critiques of the NFT “art” scene exist, but they—neither unreasonably nor unnecessarily—tend to focus on the (socio)technological side of the phenomenon. These two essays from back in June cropped up on Metafilter yesterday, coming at it from a more art-critical and political-economic angle… and while they’re pretty depressing in many respects, it’s a long time since I read pieces of this length which hinge on their author’s repeatedly stated boredom with the object of critique, but which are nonetheless really fun to read*.

Clip from the first one:

The product being labored over for the contemporary artist of social media is not “the work of art” but “the gestalt experience of art-posting”. From that perspective, artists might be more or less successful but the same is true of any gig economy worker. Imagine if every warehouse worker could simply be timed and optimized and would have their livelihoods determined by their profit making metrics! We’re headed in that direction but this will not make Amazon employees entrepreneurs, it just will make them proletarians subject to a particularly horrific conditioning, the final dream of Fordism. Twitter and Patreon aren’t that, just yet, but I think once you stop seeing people using it as producing individual WORKS but producing a WHOLE GESTALT EXPERIENCE it’s more apparent that these workers are profoundly fungible. Twitter has finally successfully done for all forms of art what factory production did for ceramics and textiles, which the Arts and Crafts movement struggled hopelessly against. And all without producing a standardized product at all!

Clip from the second one:

So sweep aside literally everything I’ve said about the APPARENT Rube Goldberg contraption that is cryptokitties and behold the real one: the same gold bug economics that all of cryptocurrency runs on, a deranged libertarian conviction that currencies that people use to buy basic shit for survival should ONLY EVER BECOME MORE RARE AND VALUABLE. In the first one of these I said I didn’t want to talk about Blockchain cause it’s stupid and boring. But I arrived at that after going through this frustrating emotional relationship that involved comprehending the incredibly clever structure blockchain uses to achieve a deflationary basis and trustless records of transactions, getting kind of impressed, remembering that this is a Rube Goldberg machine made of fucking corpses, getting insanely mad, then eventually just getting bored. They managed to invent a Rube Goldberg machine that on final examination is just banal: the ultimate banality of finance capitalism, which not even The Wolf of Wall Street could make look anything other than repulsive and tedious.

Understanding that this is all a huge dumb alchemy mechanism for turning coal into a virtual gold by way of Chinese power plants helpfully clarifies why cryptokitty design contradicts itself fundamentally. The breeding mechanics and extra bullshit? It’s just a pretext. The Rube Goldberg really is a mechanism for generating token uniqueness: literally, unique tokens, non fungible tokens, tokens that hold different values due to their attached artistic content, and so cannot be used interchangeably. But also, token uniqueness, uniqueness that only exists on a surface level, because it only needs to be surface level in order to fulfill a minimum of it’s pitch to investors.

[ * Briefly donning my Grandpa Simpson mask, I will note that this sort of writing was a staple of the golden age of blogging, and I miss both the time in which more of it was being made, and the time in which I had the time to read and write more of it myself. Please consider your clouds to have had my fist vigorously shaken at them. ]

science fiction / social theory / infrastructural change / utopian narratology