Kyle Chayka (born 1988 or 1989)[1] is an American journalist and cultural critic... https://en.wikipedia.org/wiki/Kyle_Chayka https://www.kylechayka.com/

Robin Sloan: Finisher. ...composition will commence on the next book in the Moonbound series. All my notes call it simply M2, so we’ll use that codename here. M2 is plotted out, many of its major sequences vivid in my imagination, so this will be a season of Getting It Down. I’m excited — absolutely raring to go. (more)

Jason Cohen on p-Hacking your A/B tests. Half of your “successful” A/B tests are false-positives. (more)

Sam Valenti IV: Herb Sundays 137: 1010Benja [season 8 finale]. In a recent blog post which maybe I just dreamed, Hit Em style, or that was deleted, Simon Reynolds (Herb 32) quietly admitted he thought he had coined the term poptimism, a fact I don’t intend to explore more, but wouldn’t be surprised by given his penchant for sublime tagging. Twenty years on from its creation, and ten from its mainstream acceptance, the term and the concept still makes waves, a concept then deemed a necessary move for journalism both to reconnect Pop to the discourse, and in service of Pop’s inherent contemporary quality. (pop culture) (roughly everything in this piece makes me barf) (more)

Professional wrestling (often referred to as pro wrestling, or simply, wrestling) is a form of athletic theater[2] centered around mock combat and based on the premise that performers are competitive wrestlers. Professional wrestling is distinguished from amateur wrestling by its scripted outcomes and emphasis on entertainment and storytelling over genuine competition.[3] The staged nature of matches is an open secret: Through a practice known as kayfabe, both wrestlers and spectators—as well commentators and journalists—maintain the pretense that the performances are bona fide competitions,[4] which is likened to the suspension of disbelief employed when engaging with fiction.[3] Professional wrestlers perform as characters and usually maintain what is known in the industry as a "gimmick" — the persona, style and traits conveyed by distinctive attire, stage name, entrance theme music, and other distinguished characteristics and creative flourishes. Matches are the primary vehicle for advancing storylines, which typically center on interpersonal conflicts, or feuds, between heroic "faces" and villainous "heels". A wrestling ring, akin to the platform used in boxing, serves as the main stage; additional scenes may be recorded for television in backstage areas of the venue, in a format similar to reality television. Performers generally integrate authentic wrestling techniques and fighting styles with choreography, stunts, improvisation, and dramatic conventions designed to maximize entertainment value and audience engagement.[1] Professional wrestling as a performing art evolved from the common practice of match-fixing among American wrestlers in the 19th century, who later sought to make matches shorter, more entertaining, and less physically taxing. As the public gradually realized and accepted that matches were predetermined, wrestlers responded by increasingly adding melodrama, gimmickry, and outlandish stunt work to their performances to further enhance the spectacle. By at least the early 20th century, professional wrestling had diverged from the competitive sport to become an artform and genre of sports entertainment. https://en.wikipedia.org/wiki/Professional_wrestling

In professional wrestling, kayfabe (/ˈkeɪfeɪb/) is the portrayal of staged events within the industry as "real" or "true", specifically the portrayal of competition, rivalries, and relationships between participants as being genuine and not staged. The term kayfabe has evolved to also become a code word of sorts for maintaining this "reality" within the direct or indirect presence of the general public.[1] Kayfabe, in the United States, is often seen as the suspension of disbelief that is used to create the non-wrestling aspects of promotions, such as feuds, angles, and gimmicks in a manner similar to other forms of fictional entertainment. https://en.wikipedia.org/wiki/Kayfabe

Parasocial interaction (PSI) refers to a kind of psychological relationship experienced by an audience in their mediated encounters with performers in the mass media, particularly on television and on online platforms.[1][2][3][4] Viewers or listeners come to consider media personalities as friends, despite having no or limited interactions with them. PSI is described as an illusory experience, such that media audiences interact with personas (e.g., talk show hosts, celebrities (celebrity), fictional characters, social media influencers) as if they are engaged in a reciprocal relationship with them. The term was coined by Donald Horton and Richard Wohl in 1956. https://en.wikipedia.org/wiki/Parasocial_interaction

An attempt to integrate a bunch of past pages, imagining an ecosystem that includes all the legacy BigWorld crap, but supports a way for a network enlightenment to emerge.... (more)

System for certain kinds of groups to share their own digital gardens with each other, not the whole world. From Social Warrens. (Webs Of Thinkers And Thoughts) (more)

Post Office Protocol (more)

Human Agency is the capacity for human beings to make choices and to impose those choices on the world. http://en.wikipedia.org/wiki/Human_agency (more)

Andrew Pickering (born 1948) is a British sociologist, philosopher and historian of science at the University of Exeter. He was a professor of sociology and a director of science and technology studies at the University of Illinois at Urbana-Champaign until 2007. He holds a doctorate in physics from the University of London, and a doctorate in Science Studies from the University of Edinburgh.[1] His book Constructing Quarks: A Sociological History of Particle Physics (1984)[a] is a classic in the field of the sociology of science.... He authored The mangle of practice: Time, agency and science (University of Chicago Press, 1995), where he develops a performative conception of scientific practice, focusing on non-human agency and strongly contributing to the posthumanist trend of Science and Technology Studies. His most recent book, The Cybernetic Brain: Sketches of Another Future traces the history of British Cybernetics after the Second World War. Pickering considers Cybernetics as a type of nomad science that, instead of seeking to dominate reality as its modern counterpart (thus leading to processes of enframing, following Heidegger) rather develops an ontological theatre between humans and non-humans. In this book, Pickering explores projects that intertwine, for instance, technology, psychiatry, spirituality, education and, of course, brain sciences. https://en.wikipedia.org/wiki/Andrew_Pickering

"Tendency" framing from Gretchen Rubin: (2018-07-16) Heres Exactly Why You Finish Some Things And Not Others - "nobody can tell me what to do, not even me". cf Subversive, Reality Hacker?

I find that people capable-of/comfortable-with Reflective Thought are the best Wiki participants. Esp. if they are able to use a D And D mentality for Framing. Tends to also be a systems thinker? (more)

idea of a variation/subset of the World Wide Web which has fewer of the ugly bits (Small World) (more)

Max Read: How to Substack. Today, October 18, is Read Max’s third anniversary (more)

Kyle Chayka: The internet’s distribution problem. Everyone online is talking about distribution. (more)

Kyle Chayka: The new rules of media. There’s an old-school magazine editorial format that goes something like “The New Rules for [X]” or “The New Way to [Y],” posing a tongue-in-cheek surety. (more)

when you think your a/b test told you something was true, and it wasn't (error type)

Founding Team: Key people in Start Up. Can be fuzzy to define (more)