00:02:50.300And then you can loop, you know, play music with yourself.
00:02:53.680I've got one loop that's going on, I don't know, maybe a year loop.
00:02:57.580And so it has this time sequence in terms of how it does what it does.
00:03:00.980And then I've got other loops that are moving at different temporal loops, different spatial loops,
00:03:04.480and they have different propagations through the environment that we're in.
00:03:07.760So, for example, one thing that's going on is Homo sapiens sapiens is not yet ever really fully dealt with the fact that we're a technological species.
00:03:15.820That's been going on a long time, right?
00:03:18.180And that has profound implications that continue to ramify and cascade to the entire sociocultural field.
00:03:24.000And we're kind of dealing with these giant ripple effects that have been bouncing off the edges of our world for a long time.
00:03:32.600And that's coming home to roost in big ways.
00:03:34.520And it has continuously done so over a long period of time.
00:03:37.560At a lower level of sort of scale has to do with the fact that we happen to be right at the cutting edge of one of the major waves in that bigger story.
00:03:47.200And there's many different names of it.
00:03:49.480And by the way, that wave isn't one wave.
00:03:52.320It's like a dozen or 50 waves that all happen to be linking up together.
00:03:56.680So, you know, it becomes a much bigger phenomenon.
00:04:00.220Another piece of it is that the implications of that kind of a change we tend,
00:04:05.660and particularly we modern post-enlightenment scientific physicalist rationalists,
00:04:11.880tend to focus on change happening outside as a technical, economic, physical material.
00:07:03.600I'm going to create a framework and then use that framework.
00:07:05.560So when television first came into the – showed up, television happens, the people who are creating television programming don't really know what it is they're dealing with, obviously, right?
00:07:21.760And so they do their best to do TV, which for the most part means they point a camera at what effectively is a form of Broadway play.
00:07:29.940They take something they know and understand, and they add this new ingredient to it.
00:07:36.180Thus begins, though, an actual experiment, an actual learning of the nature of the underlying new thing that has a bunch of different characteristics.
00:07:44.140For example, unlike a Broadway play, in television you can have two cameras, and you can cut back and forth and force the viewer to actually shift that perspective.
00:07:53.120You actually can control the territory the viewer's attention is focused on in a way in a play you cannot.
00:07:57.620And, of course, you can do that not just in terms of visual perspective.
00:08:03.180I can do – I can cut back and forth in time very easily, et cetera, et cetera.
00:08:08.560There's all kinds of things that happen as we begin to explore the actual characteristics of the novel milieu of television.
00:08:15.780By the way, the same thing is actually happening on the part of the audience.
00:08:18.880The audience is watching early, early TV, hasn't yet understood what it is they're watching.
00:08:23.700So they're experiencing something, but as the audience becomes more and more sophisticated, they begin to build a storehouse of, say, for example, what TV tropes are.
00:08:32.440And it becomes a new vocabulary, a new vernacular.
00:08:35.240So in a certain sense, context begins to show up.
00:08:37.900Like you hear the chords of music that is playing in the background in your body.
00:08:41.700It's like, oh, now I'm supposed to feel that it's dramatic, for example.
00:08:45.780And so it's actually a really interesting co-developmental process of understanding what the potentials of the medium are and the relationship between creative expression and perception in that context that builds more and more capacity to actually move into this new place.
00:09:21.140So this is true also in a broader context.
00:09:23.680If I'm looking at, for example, how governance works, one of the challenges of governance in the 20th century, actually for a very long period of time, but in the 20th century in particular, is that you're dealing with very large populations, more or less, generally over large geographic regions, oftentimes with meaningful diversity and heterogeneity of cultural assumptions.
00:09:51.340And yet, we need to find some way to get them all to more or less agree on a relatively narrow set of choices.
00:09:59.740And so we have two things going on simultaneously that tend, by the way, to reinforce each other.
00:10:05.960As television, for example, emerged in the mid-century, governance began to learn how it can use television to do the thing that it needs to do, which is ultimately to create what's called a cybernetic control structure.
00:10:19.800I don't mean that necessarily as a negative.
00:10:21.740You know, I have the previous example of a steering wheel as a form of cybernetic control structure.
00:10:25.980It's how I can use my intelligence and agency to control, to steer some kind of underlying system.
00:10:36.600And so even the concepts of, by the way, cybernetics happen to emerge in that timeframe.
00:10:40.780So it's a little bit of self-referentiality there.
00:10:44.840And so by the time you get to the 90s, at least in the United States, I don't actually know what,
00:10:52.580We get to a place where governance had become quite TV native, meaning both the tools and techniques, the approaches, the understandings, the habits, the unconscious instincts,
00:11:06.140and also the possibilities and capacities of what actually could be effectively managed and steered through this particular modality.
00:11:12.700And an audience that had been prepared, for example, I remember very clearly as a eight or 10-year-old, my dad would turn on the nightly news every night.
00:11:26.920He had been trained to watch the local news every night as part of a civic duty, which is to say he plugged into the cybernetic control structure, mediated through television, and it was important and useful.
00:11:41.380And then the system had learned how to do things like, how do you create the right kind of messages?
00:11:46.480How do you shape the, you know what the Overton window is?
00:11:48.740How do you shape the Overton window so that it's broad enough that people feel like they're getting a real consideration of what's happening, but also narrow enough that actually causing choices to happen within the bandwidth that we have as choice makers is also feasible, like that kind of stuff.
00:12:05.740But of course, as we enter into the 90s, we also enter into the emergence of an entirely new media landscape.
00:12:10.120This new digital media, this interactive, digital, highly decentralized or distributed landscape comes online, which has completely different characteristics than broadcast television.
00:12:22.600You know, instead of being, for example, in America, three channels, it is, in fact, an infinite number of channels.
00:12:29.640And instead of having the characteristic of temporal flow with no memory, like, you know, right, right, when I'm watching the nightly news, up until the invention of like TiVo, it was just gone, right?
00:12:43.060The second it, the moment had passed, that moment was in the past.
00:12:46.460And so memory was very much not part of the story.
00:12:49.320What was a part of the story was what gets my attention now and what leaves a felt sense of making good choices.
00:12:58.460We can kind of vaguely refer to things that happened to the past, but hard to know exactly.
00:13:04.740Obviously, in the digital environment, the internet never forgets.
00:13:07.560You know, to the degree to which you guys choose to broadcast this video, it will then be a durable trace that 10,000 years from now, assuming somebody has the capacity to sort of do digital technology, it'll still be there.
00:13:20.340It can be rewound and looked at second by second.
00:13:22.460And, of course, highly decentralized, meaning that you guys didn't have to ask anybody's meaningful permission to begin the process of actually creating a new form of communications channel.
00:13:32.020And neither did I, you know, I can go on YouTube now, of course, the evolution of the control structures in the context of the new media channel is already happening apace.
00:13:43.100So the development and discovery of different techniques of trying to control how do you engage in the kinds of shaping of conversation that are valid and meaningful and effective in this new milieu is happening, right?
00:13:57.160It's accelerating, but from the period of 2000 and so, and particularly 2008, 2009, 2010, and this just has to do with relative rates of penetration of the amount of tension that was applied to the different media and the ages of different generations whose psychologies and underlying habits have been developed in different environments, began to create a mixture of underlying forces.
00:14:21.500It's kind of like when a river flows into the ocean, you've got kind of cool, fresh water mixing with whatever the temperature of the ocean happens to be, let's go with warm salt water, it creates a very turbulent environment in the middle.
00:14:33.140And that's large, that's been a big piece of what's actually happening is that, which is a deeper thing.
00:14:37.600Now, we see lots of stuff happening at a more superficial level, which doesn't mean, by the way, that it's not relevant.
00:14:43.840It just means that it's happening at a different level of causation and scale.
00:14:48.380But in many cases, a deeper cause is what I was just describing.
00:14:54.740We can, by the way, there's an arbitrary, we could go weeks on just that and pulling pieces of that out if we'd like.
00:15:00.340And what is the effect of this on our society, this new media, this new way of communicating?
00:15:08.400The fact that anybody can have access to an audience, anybody can have access to disseminate the information that they believe is valuable and frame it in their own way.
00:15:18.840Well, okay, there's two different categories of response to that.
00:15:24.740One has to do with an exploration of the underlying characteristics of the medium, which I'd actually like to get to later, in a moment.
00:15:33.720And the other has to do with the specifics of what I was just describing, which is to have to do with the change.
00:15:39.520So the change has one impact on our society, the change in and of itself.
00:15:42.860The second has to do with the shift, the journey to this new location.
00:15:49.760So the change shows up as things like surprise, confusion, anxiety, conflict in ways that don't necessarily make sense.
00:16:02.280Because part of what's happening is pre-existing categories are finding themselves no longer applicable to the new environment.
00:16:10.960You can imagine that I've got a company, like the New York Times.
00:16:14.000The New York Times has a sense of being the New York Times, but it has almost a verticality to it.
00:16:21.600There's a New York Times and there's a culture of people who are part of it.
00:16:24.520But the emergent wholeness of the New York Times has latent cross cuts of various kinds of memetic tribes that are in it.
00:16:38.460And because this new environment has a different pull, almost like a shearing strength, there's tension and pulling on the wholeness of the interior of the New York Times, which is in many ways confusing, particularly to older people.
00:16:53.120Like the old, there's a big generation gap that the more TV your mind is, for example, again, there's lots and lots of things going on.
00:17:01.180But the more TV your mind is, the more odd and weird and strange it is that these kinds of things that are coming up from this new digital decentralized capacity show up in the way they show up.
00:17:13.800Things like pace and style that are very not of the same sort.
00:17:18.520So disruption, surprising disruption, generalized anxiety because of the presence of simple novelty and the breakdown of old forms and habits that seem to make sense, but no obvious way of understanding or being able to feel comfortable with what's happening.
00:17:36.240Probably a little bit like the way that animals feel before an earthquake.
00:17:40.360Like something big and momentous is happening, but I don't know what the hell it is.
00:17:44.760And so it's like almost in the body, a basic felt sense of flea or undifferentiated energy that in some sense almost randomly shows itself up.
00:17:54.540People are scrambling to find out what's a safe and or a good place to be in a context where they really don't know what's happening.
00:18:16.620So as part of what's happening is we actually are entering into a new period of deep uncertainty and a new period of exploration and journeying and learning how to become capable of that.
00:18:26.500Like unlearning the habits of being cogs in a well-functioning machine and relearning the capacity of being explorers or journeyers or humans in a new niche.
00:18:41.500And that's actually, depending on the magnitude of the change, there's almost like a verticality.
00:18:45.400How far down that unlearning and relearning do we have to go?
00:18:47.900But if we look at the characteristics of this new environment, there are a few, like, almost like, you know, islands that pop out of the ocean, high points that you can kind of point at right now from where we are.
00:19:02.380And frankly, they look a lot like what's going on in China.
00:19:04.940The social credit score, the, the, and by the way, a French philosopher named Jude Deloise pointed this out in the mid-90s.
00:19:12.960He called it the societies of control.
00:19:15.660And this has to do with the fact that in a, in a, uh, uh, a digital environment, the ability to perceive and signal and then modulate signal at a very, very fine grain and at a very, very rapid and bespoke pace.
00:19:33.740So for example, in the context of broadcast television, the message had to be a message that was sort of generically targeted to a large demographic.
00:19:42.460Even the contact concept of demographics was invented by marketers to make sense of how to use TV effectively.
00:19:50.760In the context of digital, uh, what we're discovering is that in fact, the appropriate, the technology enables and the appropriate mode is actually micro targeting on the interior of your own, your individual human psychology.
00:20:06.100So I don't want to create a message targeting, say the three of us.
00:20:09.440I don't want to, I don't even want to create a message targeting you.
00:20:12.880I want to create these tiny, tiny nudges, clusters of them that are all qualitatively different that actually impact your psychological interior inside your own mechanism of maintaining the integrity of your own psychology.
00:20:26.240So as to nudge you in a fashion that you don't even perceive as happening, but as you, like as this, as a distinct human being, as a distinct agent in the environment.
00:20:36.380Um, so micro control and fluid modulation, like instead of having it happen as a, uh, like a Apple is an example of like actually a pretty strong TV style or broadcast style.
00:20:49.920Um, where this, this, this buildup that's the spend a lot of time planning and have one big, significant focused, really high quality event that hits hard, that kind of a move in the digital environment.
00:21:03.960As you move further and further and further down, you actually get a, something that's much more like, um, short fluid iterations that change rapidly.
00:21:13.400If you've ever seen that, what that looks like, um, like if you, if you watch the water flow into a, uh, uh, a title title tide pool where there's lots of rocks and you can see the complexity of the tide as it flows in and out.
00:21:27.080So it's like that it's much more like that.
00:21:29.600Um, so fluid modulation, and then think about what happens at the level of the physical environment.
00:21:34.980And this is, again, think China, um, where, uh, let me just do the virtual first and I can do the concrete a second.
00:21:43.500You know, when, when I show up to amazon.com, I guess you show up to amazon.co.uk.
00:21:52.280And we may see something that has a lot of aesthetic similarity because Amazon wants to maintain the continuity of its brand, but by definition it's bespoke, right?
00:22:01.120I see something that is perfectly optimized to the degree to which Amazon has information and competence to cause me to buy shit.
00:22:08.760And it's different than the kind of stuff that will cause you to buy shit.
00:22:12.180Now just imagine what happens in our physical environment has that same set of characteristics where the pub, you literally just can't even go into the pub.
00:22:21.420Because that pub is not part of your modulated flow stream.
00:22:25.440You know, you, you get into the self-driving electric replacement for the cab and there's only a certain number of places that you can go.
00:22:34.740And there's other places that if you go there, they are vastly cheaper for you to get into.
00:22:37.860For example, let's just use economics.
00:22:39.260There's so many different variations on the theme because in this new environment, the number of different control mechanisms like control currencies goes way up.
00:22:46.960So let me just come and give you an example.
00:22:48.940So you go to a pub number one and one thing that happens is it's three times as expensive per drink.
00:22:56.260And the second thing that happens is your, uh, your, your ability to show up as a, uh, a good possible date in, you know, the new version of Tinder goes down.
00:23:37.460And the idea is that in this novel digital environment, the capacity for that exists, how exactly it shows up, who knows?
00:23:44.620And by the way, it'll probably show up differentially depending on exactly how the design, what ends up designing or controlling the design of that control structure.
00:23:53.640You know, the Chinese version will look very different than say, for example, the EU version, although not as far as I can tell, radically different.
00:24:02.380Just to kind of get a gesture in the direction of the kinds of things to be looking out for in terms of principles, fluidity, micro, um, very bespoke and maybe some concrete examples of how it shows up in Amazon and how it might show up in the, uh, self-driving pub of the future.
00:24:21.640Hey, KK, do you like feeling silky and smooth like a sexual dolphin?
00:24:28.840What if I told you that Manscaped have brought out a new and improved Lawnmower 3.0 that allows you to be fresh and trim for the ladies down below?
00:25:29.260Jordan, so basically, at the moment, we all have our own virtual reality and I'm fully aware of this.
00:25:38.580Like, I know that when I am writing a joke, let's say, as a comedian or making a tweet that I want to make a certain point, if I'm referencing something, there's quite a large portion of other people who have no idea what the hell I'm talking about because they've got their own Twitter.
00:25:54.380Right. And what you're talking about is on a physical level, that will start to take shape to the point where eventually we're all going to have our own reality in every way.
00:27:43.580Imagine if we tracked it down to the granular level at every single transformation across the supply chain.
00:27:49.320And then imagine if we use that information to drive the control structure that was nudging people's behavior at a very fine-grained level.
00:27:59.660For example, I'll just use a slightly different one than climate change.