"Rappers" on the roof of the electrostatic precipitator knock the accumulated dust free, letting it fall into the storage hopper. Each rapper is the size and shape of a baseball bat. Inside is an electromagnet that pulls a steel plunger upward, then allows it to fall again, producing a sharp knock. The rappers are energized at seemingly random intervals, producing a haunting, syncopated music. (The rhythm seemed more modern jazz than rap.)
Today population forecasts are based on extensive and reliable data. However, no such demographic base exists for the world's growing population of machines and devices. Now may be the time to take machine demography seriously and enter into real discussions about machine population control.
The couple of years in question here saw one of the largest bureaucracies anywhere undergo a convulsion in which it tried to reconceive itself as a non- or even anti-bureaucracy, which at first might sound like nothing more than an amusing bit of bureaucratic folly. In fact, it was frightening; it was a little like watching an enormous machine come to consciousness and start trying to think and feel like a real human.
This is how NFTs make me feel: like the future is useless but expensive, and world-altering technology is now in the hands of a culture so aesthetically and spiritually impoverished that it should maybe go back to telling stories around the cooking fire for a while, just to remember how to mean something.
There is something about the aesthetics of NFTs — not a sameness, exactly, but a particular deficiency of which they all partake, such that even though they look different, they all manage to suck in the same way. It’s tempting to say they suck the way everything sucks now, but it’s more like how one particular strain of American aesthetics has sucked for the last 20 years. NFTs are the human capacity for visual expression as understood by the guy at the vape store.