The long game(s)
THINK. If you have not heard about Mark Zuckerberg's video statement on changes to Facebook content moderation policies, tell me which rock you are hiding under (and I might as well get there!). In the world of attention economy, this message probably beat all outreach records and triggered an avalanche of opinions.
I am not going to argue any side of the moral opposition. I think by now the audience is aware of my point of view. A business model where profits are linear (or exponential) to duration of screen time, amplified by engagement, that in turn is enhanced by aggravating, often negative or anxiety-ridden content, all managed by algorithms that are seemingly outside of an organization's control, is deeply concerning. In case you have not noticed, we are already receiving a tailored version of reality via various technology platforms, filtered to best match our beliefs, values and interests. Or somebody else's? Sometimes all it takes is to hear an interpretation of a fact that you would assume does not need any interpretations as it is completely objective, provided by an opposing side of the political aisle. Shocking how truth is no longer singular.
It is the global geopolitical impact of tech business that are simply concerning. I was recently asked to lead a session for a development program participants, where we debated the understanding, application and risks connected to the emergence of AI. While browsing for some stimulating content, I came across a panel with Yuval Noah Harari and Mustafa Suleyman, discussing the 'new digital species'. One aspect, Harari argued, that is different than any other prior transformative revolution is that AI can possibly gain agency, and therefore disassociate from the intentions of its creators. With insufficient oversight or on purpose, the digital species can, for example, choose to generate millions of universes where we will be exposed to tailored versions of truth, served ahead of demand. Sounds like some gloomy, utopian scaremongering? Well, at least I want to believe it makes us consciously consider the options. Or at least comprehend those.
FEEL. As the world has become fast-paced, so did the movie narratives. Erratic editing, cutovers and split screens, bathed in whirlwind of colours and music clips. Short-form video attention grabbing techniques, but now two-hour long.
In that context, the show 'Ripley' is a rare treat. 8 episodes filmed in black and white, carefully paced, is based on a 1955' novel by Patricia Highsmith, adapted for the screen in 1999. It tells a story of Tom Ripley, a near-perfect... nobody? From small time frauds and apparent loneliness, Ripley seizes a random opportunity to help convince a rich and privileged American in Italy to come back home, a task commissioned by the father. It is fascinating to watch how Ripley seamlessly maneuvers into the high-life and, equally effortlessly, becomes the main character (pun intended!). The book and the series are tagged as psychological thrillers for a reason!
If you recall what an impostor syndrome is, Ripley has absolutely none of it. His ability to inject his presence in the most benign way, read the situation and manipulate others to thinking and/or feeling in the way that best suits his plans, is next to none. A social chameleon, Ripley appears to be lacking empathy and has absolutely no remorse. He gracefully falls into deeper ties with crime, yet seems to carry no moral burden. As if he was playing a board game and happened to decipher the sequence of moves leading to success. As if none of it truly mattered.
Our minds play a confirmation bias trick where we actually want to find evidence supporting what we already believe in anyway. A beautiful, black and white cinematography is a great reminder to always stop and look into circumstances that simply seem either to good to be true, or too improbable, despite all covers. Humans normally have a decent sense of threat!
DO. Comic conventions are our family thing. A good chance to treat ourselves less serious. To really embrace the inner child that wants to dress up in a superhero costume and collect a bag full of signed books and crappy merchandise. Oh, did I just say it out loud?
I thoroughly enjoy discovering new works of comic art that I had no idea existed before. It typically involves an awkward conversation with the creator, who, equally awkwardly, responds to similar questions all day long, balancing between the need for recognition by an audience and remaining somewhat distant from it.
A conversation that sparked my utmost respect was one with Declan Shalvey. Declan described his journey to write, draw and ink 'Old Dog', a series of graphic novels, completely on his own, based on a story he was building in his mind for a while. Having studied 'behind the scenes' of some series that I admired (vide Neil Gaiman's 'Sandman'), I had some view of what it might entail. A 8 to 12 months of work was an eye-opening timeframe of one's life to dedicate to a grand idea. Even if not exclusive to that activity only, it requires a dedicated mindshare, and tons of consistency. This is the same dedication and consistency that helps us accomplish great things in every long game.
Well, in addition to this lesson of humbleness, It feels so good to nurture one's geeky side with no remorse!
