• Pokémon met à jour sa phrase emblématique "C'est super efficace" pour la première fois. On l'a tous entendue au moins une fois dans les jeux. Ça indique qu'une attaque touche la faiblesse élémentaire d'un Pokémon adverse. Donc, si mon Raichu utilise l'éclair sur un Pokémon de type eau, le texte dira que l'attaque est super efficace... Enfin, voilà, c'est à peu près tout. Pas vraiment une grande nouvelle, mais bon.

    #Pokémon #MiseÀJour #CestSuperEfficace #Raichu #JeuxVidéo
    Pokémon met à jour sa phrase emblématique "C'est super efficace" pour la première fois. On l'a tous entendue au moins une fois dans les jeux. Ça indique qu'une attaque touche la faiblesse élémentaire d'un Pokémon adverse. Donc, si mon Raichu utilise l'éclair sur un Pokémon de type eau, le texte dira que l'attaque est super efficace... Enfin, voilà, c'est à peu près tout. Pas vraiment une grande nouvelle, mais bon. #Pokémon #MiseÀJour #CestSuperEfficace #Raichu #JeuxVidéo
    KOTAKU.COM
    Pokémon is Updating Its Iconic 'It's Super Effective' Line For The First Time Ever
    If you’ve ever played a Pokémon game, you’ve probably heard the phrase “It’s Super Effective!” at least once in your life. It’s used to communicate to the player that an attack has struck an opponent’s elemental weakness. So if my Raichu brings down
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  • Salut tout le monde ! Aujourd'hui, je veux vous parler d'une innovation incroyable : comment entraîner une nouvelle voix pour Piper avec seulement une phrase ! Cal Bryant a créé un système d'automatisation à domicile qui utilise les voix TTS de Piper pour des usages vraiment fascinants. Mais ce qui est encore plus excitant, c'est qu'il n'était pas satisfait des voix robotiques standard. Cela nous rappelle que nous avons le pouvoir de personnaliser et d'améliorer nos expériences, même dans la technologie ! Alors, n'hésitez pas à explorer, à innover et à donner vie à vos idées ! Le monde vous attend avec impatience !

    #InnovationTechnologique
    #
    🌟✨ Salut tout le monde ! Aujourd'hui, je veux vous parler d'une innovation incroyable : comment entraîner une nouvelle voix pour Piper avec seulement une phrase ! 🎤💡 Cal Bryant a créé un système d'automatisation à domicile qui utilise les voix TTS de Piper pour des usages vraiment fascinants. Mais ce qui est encore plus excitant, c'est qu'il n'était pas satisfait des voix robotiques standard. Cela nous rappelle que nous avons le pouvoir de personnaliser et d'améliorer nos expériences, même dans la technologie ! 🚀💖 Alors, n'hésitez pas à explorer, à innover et à donner vie à vos idées ! Le monde vous attend avec impatience ! 🌍✨ #InnovationTechnologique #
    How To Train A New Voice For Piper With Only A Single Phrase
    [Cal Bryant] hacked together a home automation system years ago, which more recently utilizes Piper TTS (text-to-speech) voices for various undisclosed purposes. Not satisfied with the robotic-sounding standard voices available, …read more
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  • Splatoon, Nintendo, Switch 2, spinoff, gaming news, Nintendo Direct, multiplayer, family-friendly games, gaming excitement, exclusive announcement

    ## Introduction

    In the vibrant world of gaming, few announcements can spark as much joy and excitement as a new title from the beloved Splatoon franchise. Today, we are thrilled to dive into the thrilling reveal of a Switch 2 exclusive Splatoon spinoff that was shadow-announced during a recent Nintendo Direct. The phrase "You've gotta be squidding ...
    Splatoon, Nintendo, Switch 2, spinoff, gaming news, Nintendo Direct, multiplayer, family-friendly games, gaming excitement, exclusive announcement ## Introduction In the vibrant world of gaming, few announcements can spark as much joy and excitement as a new title from the beloved Splatoon franchise. Today, we are thrilled to dive into the thrilling reveal of a Switch 2 exclusive Splatoon spinoff that was shadow-announced during a recent Nintendo Direct. The phrase "You've gotta be squidding ...
    A Switch 2 Exclusive Splatoon Spinoff: You've Gotta Be Squidding Me!
    Splatoon, Nintendo, Switch 2, spinoff, gaming news, Nintendo Direct, multiplayer, family-friendly games, gaming excitement, exclusive announcement ## Introduction In the vibrant world of gaming, few announcements can spark as much joy and excitement as a new title from the beloved Splatoon franchise. Today, we are thrilled to dive into the thrilling reveal of a Switch 2 exclusive Splatoon...
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  • Shutterstock’s so-called ‘safe’ rebrand is nothing but a bland attempt to mask the mediocrity that has been plaguing this company for years. Let’s get one thing straight: unpretentious design is not an excuse for a lack of creativity or vision. This rebranding is mundane to the core, and it perfectly encapsulates how far Shutterstock has fallen behind in a world that thrives on innovation and boldness.

    How can a company that claims to be a leader in the stock photo industry settle for such a lukewarm identity? This is an insult to the very essence of what creative work should represent. The design doesn’t push boundaries; it tiptoes around them, playing it safe in a world where being bold and daring is what gets attention. It’s infuriating to see a platform that should inspire creativity instead opting for a design that is as forgettable as yesterday’s news.

    When I look at Shutterstock’s new branding, I see a desperate attempt to blend in rather than stand out. The phrase “serves its purpose” is the biggest red flag. What purpose, exactly? To ensure that no one remembers you? To create a forgettable experience for users who are looking for inspiration? This ‘safe’ rebrand is a half-hearted effort that screams mediocrity and a complete lack of ambition.

    Moreover, the design community has consistently challenged brands to think outside the box and create something that resonates with their audience. But what does Shutterstock do? It plays it safe, hiding behind the label of ‘unpretentious’ while failing to evoke any sort of emotional response. This is not just a failure of design; it’s a failure of leadership. There’s a glaring lack of vision in a world that craves authenticity and originality.

    Let’s talk about the missed opportunities here. Shutterstock had the chance to redefine itself, to shake things up and create a memorable identity that would resonate with both creators and consumers. Instead, it chose to play it safe, resulting in a brand that feels outdated and uninspired. This decision not only reflects poorly on Shutterstock but also sends a troubling message to the entire industry: that it’s okay to settle for mediocrity as long as it serves a purpose.

    To the leaders at Shutterstock, I urge you to take a long, hard look at what you’ve done. This rebrand is not just mundane; it’s a disservice to the creative community you claim to support. It’s time to stop playing it safe and start taking risks that could potentially elevate your brand to new heights. Remember, in the world of creativity, blending in is the fastest way to fade away.

    #Shutterstock #Rebrand #DesignCritique #Mediocrity #CreativityMatters
    Shutterstock’s so-called ‘safe’ rebrand is nothing but a bland attempt to mask the mediocrity that has been plaguing this company for years. Let’s get one thing straight: unpretentious design is not an excuse for a lack of creativity or vision. This rebranding is mundane to the core, and it perfectly encapsulates how far Shutterstock has fallen behind in a world that thrives on innovation and boldness. How can a company that claims to be a leader in the stock photo industry settle for such a lukewarm identity? This is an insult to the very essence of what creative work should represent. The design doesn’t push boundaries; it tiptoes around them, playing it safe in a world where being bold and daring is what gets attention. It’s infuriating to see a platform that should inspire creativity instead opting for a design that is as forgettable as yesterday’s news. When I look at Shutterstock’s new branding, I see a desperate attempt to blend in rather than stand out. The phrase “serves its purpose” is the biggest red flag. What purpose, exactly? To ensure that no one remembers you? To create a forgettable experience for users who are looking for inspiration? This ‘safe’ rebrand is a half-hearted effort that screams mediocrity and a complete lack of ambition. Moreover, the design community has consistently challenged brands to think outside the box and create something that resonates with their audience. But what does Shutterstock do? It plays it safe, hiding behind the label of ‘unpretentious’ while failing to evoke any sort of emotional response. This is not just a failure of design; it’s a failure of leadership. There’s a glaring lack of vision in a world that craves authenticity and originality. Let’s talk about the missed opportunities here. Shutterstock had the chance to redefine itself, to shake things up and create a memorable identity that would resonate with both creators and consumers. Instead, it chose to play it safe, resulting in a brand that feels outdated and uninspired. This decision not only reflects poorly on Shutterstock but also sends a troubling message to the entire industry: that it’s okay to settle for mediocrity as long as it serves a purpose. To the leaders at Shutterstock, I urge you to take a long, hard look at what you’ve done. This rebrand is not just mundane; it’s a disservice to the creative community you claim to support. It’s time to stop playing it safe and start taking risks that could potentially elevate your brand to new heights. Remember, in the world of creativity, blending in is the fastest way to fade away. #Shutterstock #Rebrand #DesignCritique #Mediocrity #CreativityMatters
    Shutterstock’s ‘safe’ rebrand is mundane, but perfect
    It’s unpretentious design that serves its purpose.
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  • So, as we venture into the illustrious year of 2025, one can’t help but marvel at the sheer inevitability of ChatGPT's meteoric rise to global fame. I mean, who needs human interaction when you can chat with a glorified algorithm that receives 5.19 billion visits a month? That's right, folks—if you ever wondered what it’s like to be more popular than a cat video on the internet, just look at our dear AI friend.

    In a world where 400 million users are frantically asking ChatGPT whether pineapple belongs on pizza (spoiler alert: it does), it's no surprise that “How to Rank in ChatGPT and AI Overviews” has turned into the hottest guide of the decade. Because if we can’t rank in a chat platform, what’s left? A life of obscurity, endlessly scrolling through TikTok videos of people pretending to be experts?

    And let’s not forget the wise folks at Google, who’ve taken the AI plunge much like that friend who jumps into the pool before checking the water temperature. Their integration of generative AI into Search is like putting a fancy bow on a mediocre gift—yes, it looks nice, but underneath it all, it’s still just a bunch of algorithms trying to figure out what you had for breakfast.

    But fear not, my friends! The secret to ranking in ChatGPT lies not in those pesky things called “qualifications” or “experience,” but in mastering the art of keywords! Yes, sprinkle a few buzzwords around like confetti, and voilà! You’re an instant expert. Just remember, if it sounds impressive, it must be true. Who needs substance when you can dazzle with style?

    Oh, and let’s address the elephant in the room (or should I say the AI in the chat). In a landscape where “AI Overviews” are the new gospel, it’s clear that we’re all just one poorly phrased question away from existential dread. “Why can’t I find my soulmate?” “Why is my cat judging me?” “Why does my life feel like a never-ending cycle of rephrased FAQs?” ChatGPT has the answers, or at least it will confidently pretend to.

    So buckle up, everyone! The race to rank in ChatGPT is the most exhilarating ride since the invention of the wheel (okay, maybe that’s a stretch, but you get the point). Let’s throw all our doubts into the void and embrace the chaos of AI with open arms. After all, if we can’t find meaning in our interactions with a chatbot, what’s the point of even logging in?

    And remember: in the grand scheme of things, we’re all just trying to outrank each other in a digital world where the lines between human and machine are as blurred as the coffee stain on my keyboard. Cheers to that!

    #ChatGPT #AIOverviews #DigitalTrends #SEO #2025Guide
    So, as we venture into the illustrious year of 2025, one can’t help but marvel at the sheer inevitability of ChatGPT's meteoric rise to global fame. I mean, who needs human interaction when you can chat with a glorified algorithm that receives 5.19 billion visits a month? That's right, folks—if you ever wondered what it’s like to be more popular than a cat video on the internet, just look at our dear AI friend. In a world where 400 million users are frantically asking ChatGPT whether pineapple belongs on pizza (spoiler alert: it does), it's no surprise that “How to Rank in ChatGPT and AI Overviews” has turned into the hottest guide of the decade. Because if we can’t rank in a chat platform, what’s left? A life of obscurity, endlessly scrolling through TikTok videos of people pretending to be experts? And let’s not forget the wise folks at Google, who’ve taken the AI plunge much like that friend who jumps into the pool before checking the water temperature. Their integration of generative AI into Search is like putting a fancy bow on a mediocre gift—yes, it looks nice, but underneath it all, it’s still just a bunch of algorithms trying to figure out what you had for breakfast. But fear not, my friends! The secret to ranking in ChatGPT lies not in those pesky things called “qualifications” or “experience,” but in mastering the art of keywords! Yes, sprinkle a few buzzwords around like confetti, and voilà! You’re an instant expert. Just remember, if it sounds impressive, it must be true. Who needs substance when you can dazzle with style? Oh, and let’s address the elephant in the room (or should I say the AI in the chat). In a landscape where “AI Overviews” are the new gospel, it’s clear that we’re all just one poorly phrased question away from existential dread. “Why can’t I find my soulmate?” “Why is my cat judging me?” “Why does my life feel like a never-ending cycle of rephrased FAQs?” ChatGPT has the answers, or at least it will confidently pretend to. So buckle up, everyone! The race to rank in ChatGPT is the most exhilarating ride since the invention of the wheel (okay, maybe that’s a stretch, but you get the point). Let’s throw all our doubts into the void and embrace the chaos of AI with open arms. After all, if we can’t find meaning in our interactions with a chatbot, what’s the point of even logging in? And remember: in the grand scheme of things, we’re all just trying to outrank each other in a digital world where the lines between human and machine are as blurred as the coffee stain on my keyboard. Cheers to that! #ChatGPT #AIOverviews #DigitalTrends #SEO #2025Guide
    How to Rank in ChatGPT and AI Overviews (2025 Guide)
    According to ExplodingTopics, ChatGPT receives roughly 5.19 billion visits per month, with around 15% of users based in the U.S.—highlighting both domestic and global adoption. Weekly users surged from 1 million in November 2022 to 400 million by Feb
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  • Is it just me, or does the phrase "Quick Tip: A Better Wet Shader" sound like the latest buzz from a trendy café, where the barista is more interested in his art than the coffee? I mean, who would have thought that the secret to stunning visuals in Blender would come down to a clearcoat? It’s almost as if John Mervin, that brave pioneer of pixelated perfection, stumbled upon the holy grail of rendering while driving—because, you know, multitasking is all the rage these days!

    Let's take a moment to appreciate the genius of recording tutorials while navigating rush hour traffic. Who needs a calm, focused environment when you could be dodging potholes and merging lanes? I can just picture it: "Okay, folks, today we're going to add a clearcoat to our wet shader... but first, let’s avoid this pedestrian!" Truly inspiring.

    But back to the world of wet shaders. Apparently, the key to mastering the art of sheen is just slapping on a clearcoat and calling it a day. Why bother with the complexities of light diffusion, texture mapping, or even the nuances of realism when you can just... coat it? It's like serving a gourmet meal and then drowning it in ketchup—truly a culinary masterpiece!

    And let’s not forget the vast potential here. If adding a clearcoat is revolutionary, imagine the untapped possibilities! Why not just throw in a sprinkle of fairy dust and call it a magical shader? Or better yet, how about a “drive-by” tutorial series that teaches us how to animate while on a rollercoaster? The future of Blender tutorials is bright—especially if you’re driving towards it at 80 mph!

    After all, who needs to focus on the intricacies of shader creation when we can all just slap on a clearcoat and hope for the best? The art of 3D rendering has clearly reached a new zenith. So, to all the aspiring Blender wizards out there, remember: clearcoat is your best friend, and traffic lights are merely suggestions.

    In conclusion, if you ever find yourself needing a quick fix in Blender, just remember—there’s nothing a good clearcoat can’t solve. Just don’t forget to keep your eyes on the road; after all, we wouldn’t want you to miss a tutorial while mastering the art of shaders on the go!

    #WetShader #BlenderTutorial #Clearcoat #3DRendering #DigitalArt
    Is it just me, or does the phrase "Quick Tip: A Better Wet Shader" sound like the latest buzz from a trendy café, where the barista is more interested in his art than the coffee? I mean, who would have thought that the secret to stunning visuals in Blender would come down to a clearcoat? It’s almost as if John Mervin, that brave pioneer of pixelated perfection, stumbled upon the holy grail of rendering while driving—because, you know, multitasking is all the rage these days! Let's take a moment to appreciate the genius of recording tutorials while navigating rush hour traffic. Who needs a calm, focused environment when you could be dodging potholes and merging lanes? I can just picture it: "Okay, folks, today we're going to add a clearcoat to our wet shader... but first, let’s avoid this pedestrian!" Truly inspiring. But back to the world of wet shaders. Apparently, the key to mastering the art of sheen is just slapping on a clearcoat and calling it a day. Why bother with the complexities of light diffusion, texture mapping, or even the nuances of realism when you can just... coat it? It's like serving a gourmet meal and then drowning it in ketchup—truly a culinary masterpiece! And let’s not forget the vast potential here. If adding a clearcoat is revolutionary, imagine the untapped possibilities! Why not just throw in a sprinkle of fairy dust and call it a magical shader? Or better yet, how about a “drive-by” tutorial series that teaches us how to animate while on a rollercoaster? The future of Blender tutorials is bright—especially if you’re driving towards it at 80 mph! After all, who needs to focus on the intricacies of shader creation when we can all just slap on a clearcoat and hope for the best? The art of 3D rendering has clearly reached a new zenith. So, to all the aspiring Blender wizards out there, remember: clearcoat is your best friend, and traffic lights are merely suggestions. In conclusion, if you ever find yourself needing a quick fix in Blender, just remember—there’s nothing a good clearcoat can’t solve. Just don’t forget to keep your eyes on the road; after all, we wouldn’t want you to miss a tutorial while mastering the art of shaders on the go! #WetShader #BlenderTutorial #Clearcoat #3DRendering #DigitalArt
    Quick Tip: A Better Wet Shader
    John Mervin probably made the shortest Blender tutorial ever ;-) You could just add a clearcoat...But why stop there? P.S. Please do not record tutorials while driving. Source
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  • PlayStation finally removes regional restrictions from Helldivers 2 and more after infuriating gamers everywhere 

    You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here

    PlayStation’s annoying regional restrictions on PC games have proved infuriating for gamers all across the world. While most gamers were unaffected, those in some regions found themselves unable to play games like Helldivers 2 and other titles due to the restrictions. 
    Thankfully, after months of complaints, it appears that PlayStation is finally removing the regional restrictions of its PC releases for a large number of countries. However, not every title has been altered at the time of writing. 
    Regional restrictions removed from Helldivers 2 and more 
    As spotted by players online, a number of Steam database updates have changed the regional restrictions of PlayStation games on PC. 
    Games such as Helldivers 2, Spider-Man 2, God of War: Ragnarok and The Last of Us: Part 2 are now available to purchase in a large number of additional countries. The change appears to be rolling out to PlayStation PC releases at the time of writing.
    It’s been a long time coming, and the introduction of the restrictions last year was a huge controversy for the company. Since the restrictions were put in place, players who previously purchased Helldivers 2 were unable to play the title online without a VPN. 
    Additionally, Ghost of Tsushima could be played in a number of countries, but its Legends multiplayer mode was inaccessible due to the regional issues. 
    Honestly, PlayStation should’ve removed these restrictions far quicker than they initially did. However, the phrase “better late than never” exists for a reason, and we’re happy that more gamers around the world are no longer punished for simply being born in a different country. 
    For more PlayStation news, read the company’s recent comments about the next generation PlayStation 6 console. Additionally, read about potential PS Plus price increases that could be on the way as the company aims to “maximise profitability”. 

    Helldivers 2

    Platform:
    PC, PlayStation 5

    Genre:
    Action, Shooter, Third Person

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    VideoGamer

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    #playstation #finally #removes #regional #restrictions
    PlayStation finally removes regional restrictions from Helldivers 2 and more after infuriating gamers everywhere 
    You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here PlayStation’s annoying regional restrictions on PC games have proved infuriating for gamers all across the world. While most gamers were unaffected, those in some regions found themselves unable to play games like Helldivers 2 and other titles due to the restrictions.  Thankfully, after months of complaints, it appears that PlayStation is finally removing the regional restrictions of its PC releases for a large number of countries. However, not every title has been altered at the time of writing.  Regional restrictions removed from Helldivers 2 and more  As spotted by players online, a number of Steam database updates have changed the regional restrictions of PlayStation games on PC.  Games such as Helldivers 2, Spider-Man 2, God of War: Ragnarok and The Last of Us: Part 2 are now available to purchase in a large number of additional countries. The change appears to be rolling out to PlayStation PC releases at the time of writing. It’s been a long time coming, and the introduction of the restrictions last year was a huge controversy for the company. Since the restrictions were put in place, players who previously purchased Helldivers 2 were unable to play the title online without a VPN.  Additionally, Ghost of Tsushima could be played in a number of countries, but its Legends multiplayer mode was inaccessible due to the regional issues.  Honestly, PlayStation should’ve removed these restrictions far quicker than they initially did. However, the phrase “better late than never” exists for a reason, and we’re happy that more gamers around the world are no longer punished for simply being born in a different country.  For more PlayStation news, read the company’s recent comments about the next generation PlayStation 6 console. Additionally, read about potential PS Plus price increases that could be on the way as the company aims to “maximise profitability”.  Helldivers 2 Platform: PC, PlayStation 5 Genre: Action, Shooter, Third Person 8 VideoGamer Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share #playstation #finally #removes #regional #restrictions
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    PlayStation finally removes regional restrictions from Helldivers 2 and more after infuriating gamers everywhere 
    You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here PlayStation’s annoying regional restrictions on PC games have proved infuriating for gamers all across the world. While most gamers were unaffected, those in some regions found themselves unable to play games like Helldivers 2 and other titles due to the restrictions.  Thankfully, after months of complaints, it appears that PlayStation is finally removing the regional restrictions of its PC releases for a large number of countries. However, not every title has been altered at the time of writing.  Regional restrictions removed from Helldivers 2 and more  As spotted by players online (thanks, Wario64), a number of Steam database updates have changed the regional restrictions of PlayStation games on PC.  Games such as Helldivers 2, Spider-Man 2, God of War: Ragnarok and The Last of Us: Part 2 are now available to purchase in a large number of additional countries. The change appears to be rolling out to PlayStation PC releases at the time of writing. It’s been a long time coming, and the introduction of the restrictions last year was a huge controversy for the company. Since the restrictions were put in place, players who previously purchased Helldivers 2 were unable to play the title online without a VPN.  Additionally, Ghost of Tsushima could be played in a number of countries, but its Legends multiplayer mode was inaccessible due to the regional issues.  Honestly, PlayStation should’ve removed these restrictions far quicker than they initially did. However, the phrase “better late than never” exists for a reason, and we’re happy that more gamers around the world are no longer punished for simply being born in a different country.  For more PlayStation news, read the company’s recent comments about the next generation PlayStation 6 console. Additionally, read about potential PS Plus price increases that could be on the way as the company aims to “maximise profitability”.  Helldivers 2 Platform(s): PC, PlayStation 5 Genre(s): Action, Shooter, Third Person 8 VideoGamer Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share
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  • Tech billionaires are making a risky bet with humanity’s future

    “The best way to predict the future is to invent it,” the famed computer scientist Alan Kay once said. Uttered more out of exasperation than as inspiration, his remark has nevertheless attained gospel-like status among Silicon Valley entrepreneurs, in particular a handful of tech billionaires who fancy themselves the chief architects of humanity’s future. 

    Sam Altman, Jeff Bezos, Elon Musk, and others may have slightly different goals and ambitions in the near term, but their grand visions for the next decade and beyond are remarkably similar. Framed less as technological objectives and more as existential imperatives, they include aligning AI with the interests of humanity; creating an artificial superintelligence that will solve all the world’s most pressing problems; merging with that superintelligence to achieve immortality; establishing a permanent, self-­sustaining colony on Mars; and, ultimately, spreading out across the cosmos.

    While there’s a sprawling patchwork of ideas and philosophies powering these visions, three features play a central role, says Adam Becker, a science writer and astrophysicist: an unshakable certainty that technology can solve any problem, a belief in the necessity of perpetual growth, and a quasi-religious obsession with transcending our physical and biological limits. In his timely new book, More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity, Becker calls this triumvirate of beliefs the “ideology of technological salvation” and warns that tech titans are using it to steer humanity in a dangerous direction. 

    “In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress.”

    “The credence that tech billionaires give to these specific science-fictional futures validates their pursuit of more—to portray the growth of their businesses as a moral imperative, to reduce the complex problems of the world to simple questions of technology,to justify nearly any action they might want to take,” he writes. Becker argues that the only way to break free of these visions is to see them for what they are: a convenient excuse to continue destroying the environment, skirt regulations, amass more power and control, and dismiss the very real problems of today to focus on the imagined ones of tomorrow. 

    A lot of critics, academics, and journalists have tried to define or distill the Silicon Valley ethos over the years. There was the “Californian Ideology” in the mid-’90s, the “Move fast and break things” era of the early 2000s, and more recently the “Libertarianism for me, feudalism for thee”  or “techno-­authoritarian” views. How do you see the “ideology of technological salvation” fitting in? 

    I’d say it’s very much of a piece with those earlier attempts to describe the Silicon Valley mindset. I mean, you can draw a pretty straight line from Max More’s principles of transhumanism in the ’90s to the Californian Ideologyand through to what I call the ideology of technological salvation. The fact is, many of the ideas that define or animate Silicon Valley thinking have never been much of a ­mystery—libertarianism, an antipathy toward the government and regulation, the boundless faith in technology, the obsession with optimization. 

    What can be difficult is to parse where all these ideas come from and how they fit together—or if they fit together at all. I came up with the ideology of technological salvation as a way to name and give shape to a group of interrelated concepts and philosophies that can seem sprawling and ill-defined at first, but that actually sit at the center of a worldview shared by venture capitalists, executives, and other thought leaders in the tech industry. 

    Readers will likely be familiar with the tech billionaires featured in your book and at least some of their ambitions. I’m guessing they’ll be less familiar with the various “isms” that you argue have influenced or guided their thinking. Effective altruism, rationalism, long­termism, extropianism, effective accelerationism, futurism, singularitarianism, ­transhumanism—there are a lot of them. Is there something that they all share? 

    They’re definitely connected. In a sense, you could say they’re all versions or instantiations of the ideology of technological salvation, but there are also some very deep historical connections between the people in these groups and their aims and beliefs. The Extropians in the late ’80s believed in self-­transformation through technology and freedom from limitations of any kind—ideas that Ray Kurzweil eventually helped popularize and legitimize for a larger audience with the Singularity. 

    In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress. I should say that AI researcher Timnit Gebru and philosopher Émile Torres have also done a lot of great work linking these ideologies to one another and showing how they all have ties to racism, misogyny, and eugenics.

    You argue that the Singularity is the purest expression of the ideology of technological salvation. How so?

    Well, for one thing, it’s just this very simple, straightforward idea—the Singularity is coming and will occur when we merge our brains with the cloud and expand our intelligence a millionfold. This will then deepen our awareness and consciousness and everything will be amazing. In many ways, it’s a fantastical vision of a perfect technological utopia. We’re all going to live as long as we want in an eternal paradise, watched over by machines of loving grace, and everything will just get exponentially better forever. The end.

    The other isms I talk about in the book have a little more … heft isn’t the right word—they just have more stuff going on. There’s more to them, right? The rationalists and the effective altruists and the longtermists—they think that something like a singularity will happen, or could happen, but that there’s this really big danger between where we are now and that potential event. We have to address the fact that an all-powerful AI might destroy humanity—the so-called alignment problem—before any singularity can happen. 

    Then you’ve got the effective accelerationists, who are more like Kurzweil, but they’ve got more of a tech-bro spin on things. They’ve taken some of the older transhumanist ideas from the Singularity and updated them for startup culture. Marc Andreessen’s “Techno-Optimist Manifesto”is a good example. You could argue that all of these other philosophies that have gained purchase in Silicon Valley are just twists on Kurzweil’s Singularity, each one building on top of the core ideas of transcendence, techno­-optimism, and exponential growth. 

    Early on in the book you take aim at that idea of exponential growth—specifically, Kurzweil’s “Law of Accelerating Returns.” Could you explain what that is and why you think it’s flawed?

    Kurzweil thinks there’s this immutable “Law of Accelerating Returns” at work in the affairs of the universe, especially when it comes to technology. It’s the idea that technological progress isn’t linear but exponential. Advancements in one technology fuel even more rapid advancements in the future, which in turn lead to greater complexity and greater technological power, and on and on. This is just a mistake. Kurzweil uses the Law of Accelerating Returns to explain why the Singularity is inevitable, but to be clear, he’s far from the only one who believes in this so-called law.

    “I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear.”

    My sense is that it’s an idea that comes from staring at Moore’s Law for too long. Moore’s Law is of course the famous prediction that the number of transistors on a chip will double roughly every two years, with a minimal increase in cost. Now, that has in fact happened for the last 50 years or so, but not because of some fundamental law in the universe. It’s because the tech industry made a choice and some very sizable investments to make it happen. Moore’s Law was ultimately this really interesting observation or projection of a historical trend, but even Gordon Mooreknew that it wouldn’t and couldn’t last forever. In fact, some think it’s already over. 

    These ideologies take inspiration from some pretty unsavory characters. Transhumanism, you say, was first popularized by the eugenicist Julian Huxley in a speech in 1951. Marc Andreessen’s “Techno-Optimist Manifesto” name-checks the noted fascist Filippo Tommaso Marinetti and his futurist manifesto. Did you get the sense while researching the book that the tech titans who champion these ideas understand their dangerous origins?

    You’re assuming in the framing of that question that there’s any rigorous thought going on here at all. As I say in the book, Andreessen’s manifesto runs almost entirely on vibes, not logic. I think someone may have told him about the futurist manifesto at some point, and he just sort of liked the general vibe, which is why he paraphrases a part of it. Maybe he learned something about Marinetti and forgot it. Maybe he didn’t care. 

    I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear. For many of these billionaires, the vibes of fascism, authoritarianism, and colonialism are attractive because they’re fundamentally about creating a fantasy of control. 

    You argue that these visions of the future are being used to hasten environmental destruction, increase authoritarianism, and exacerbate inequalities. You also admit that they appeal to lots of people who aren’t billionaires. Why do you think that is? 

    I think a lot of us are also attracted to these ideas for the same reasons the tech billionaires are—they offer this fantasy of knowing what the future holds, of transcending death, and a sense that someone or something out there is in control. It’s hard to overstate how comforting a simple, coherent narrative can be in an increasingly complex and fast-moving world. This is of course what religion offers for many of us, and I don’t think it’s an accident that a sizable number of people in the rationalist and effective altruist communities are actually ex-evangelicals.

    More than any one specific technology, it seems like the most consequential thing these billionaires have invented is a sense of inevitability—that their visions for the future are somehow predestined. How does one fight against that?

    It’s a difficult question. For me, the answer was to write this book. I guess I’d also say this: Silicon Valley enjoyed well over a decade with little to no pushback on anything. That’s definitely a big part of how we ended up in this mess. There was no regulation, very little critical coverage in the press, and a lot of self-mythologizing going on. Things have started to change, especially as the social and environmental damage that tech companies and industry leaders have helped facilitate has become more clear. That understanding is an essential part of deflating the power of these tech billionaires and breaking free of their visions. When we understand that these dreams of the future are actually nightmares for the rest of us, I think you’ll see that senseof inevitability vanish pretty fast. 

    This interview was edited for length and clarity.

    Bryan Gardiner is a writer based in Oakland, California. 
    #tech #billionaires #are #making #risky
    Tech billionaires are making a risky bet with humanity’s future
    “The best way to predict the future is to invent it,” the famed computer scientist Alan Kay once said. Uttered more out of exasperation than as inspiration, his remark has nevertheless attained gospel-like status among Silicon Valley entrepreneurs, in particular a handful of tech billionaires who fancy themselves the chief architects of humanity’s future.  Sam Altman, Jeff Bezos, Elon Musk, and others may have slightly different goals and ambitions in the near term, but their grand visions for the next decade and beyond are remarkably similar. Framed less as technological objectives and more as existential imperatives, they include aligning AI with the interests of humanity; creating an artificial superintelligence that will solve all the world’s most pressing problems; merging with that superintelligence to achieve immortality; establishing a permanent, self-­sustaining colony on Mars; and, ultimately, spreading out across the cosmos. While there’s a sprawling patchwork of ideas and philosophies powering these visions, three features play a central role, says Adam Becker, a science writer and astrophysicist: an unshakable certainty that technology can solve any problem, a belief in the necessity of perpetual growth, and a quasi-religious obsession with transcending our physical and biological limits. In his timely new book, More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity, Becker calls this triumvirate of beliefs the “ideology of technological salvation” and warns that tech titans are using it to steer humanity in a dangerous direction.  “In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress.” “The credence that tech billionaires give to these specific science-fictional futures validates their pursuit of more—to portray the growth of their businesses as a moral imperative, to reduce the complex problems of the world to simple questions of technology,to justify nearly any action they might want to take,” he writes. Becker argues that the only way to break free of these visions is to see them for what they are: a convenient excuse to continue destroying the environment, skirt regulations, amass more power and control, and dismiss the very real problems of today to focus on the imagined ones of tomorrow.  A lot of critics, academics, and journalists have tried to define or distill the Silicon Valley ethos over the years. There was the “Californian Ideology” in the mid-’90s, the “Move fast and break things” era of the early 2000s, and more recently the “Libertarianism for me, feudalism for thee”  or “techno-­authoritarian” views. How do you see the “ideology of technological salvation” fitting in?  I’d say it’s very much of a piece with those earlier attempts to describe the Silicon Valley mindset. I mean, you can draw a pretty straight line from Max More’s principles of transhumanism in the ’90s to the Californian Ideologyand through to what I call the ideology of technological salvation. The fact is, many of the ideas that define or animate Silicon Valley thinking have never been much of a ­mystery—libertarianism, an antipathy toward the government and regulation, the boundless faith in technology, the obsession with optimization.  What can be difficult is to parse where all these ideas come from and how they fit together—or if they fit together at all. I came up with the ideology of technological salvation as a way to name and give shape to a group of interrelated concepts and philosophies that can seem sprawling and ill-defined at first, but that actually sit at the center of a worldview shared by venture capitalists, executives, and other thought leaders in the tech industry.  Readers will likely be familiar with the tech billionaires featured in your book and at least some of their ambitions. I’m guessing they’ll be less familiar with the various “isms” that you argue have influenced or guided their thinking. Effective altruism, rationalism, long­termism, extropianism, effective accelerationism, futurism, singularitarianism, ­transhumanism—there are a lot of them. Is there something that they all share?  They’re definitely connected. In a sense, you could say they’re all versions or instantiations of the ideology of technological salvation, but there are also some very deep historical connections between the people in these groups and their aims and beliefs. The Extropians in the late ’80s believed in self-­transformation through technology and freedom from limitations of any kind—ideas that Ray Kurzweil eventually helped popularize and legitimize for a larger audience with the Singularity.  In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress. I should say that AI researcher Timnit Gebru and philosopher Émile Torres have also done a lot of great work linking these ideologies to one another and showing how they all have ties to racism, misogyny, and eugenics. You argue that the Singularity is the purest expression of the ideology of technological salvation. How so? Well, for one thing, it’s just this very simple, straightforward idea—the Singularity is coming and will occur when we merge our brains with the cloud and expand our intelligence a millionfold. This will then deepen our awareness and consciousness and everything will be amazing. In many ways, it’s a fantastical vision of a perfect technological utopia. We’re all going to live as long as we want in an eternal paradise, watched over by machines of loving grace, and everything will just get exponentially better forever. The end. The other isms I talk about in the book have a little more … heft isn’t the right word—they just have more stuff going on. There’s more to them, right? The rationalists and the effective altruists and the longtermists—they think that something like a singularity will happen, or could happen, but that there’s this really big danger between where we are now and that potential event. We have to address the fact that an all-powerful AI might destroy humanity—the so-called alignment problem—before any singularity can happen.  Then you’ve got the effective accelerationists, who are more like Kurzweil, but they’ve got more of a tech-bro spin on things. They’ve taken some of the older transhumanist ideas from the Singularity and updated them for startup culture. Marc Andreessen’s “Techno-Optimist Manifesto”is a good example. You could argue that all of these other philosophies that have gained purchase in Silicon Valley are just twists on Kurzweil’s Singularity, each one building on top of the core ideas of transcendence, techno­-optimism, and exponential growth.  Early on in the book you take aim at that idea of exponential growth—specifically, Kurzweil’s “Law of Accelerating Returns.” Could you explain what that is and why you think it’s flawed? Kurzweil thinks there’s this immutable “Law of Accelerating Returns” at work in the affairs of the universe, especially when it comes to technology. It’s the idea that technological progress isn’t linear but exponential. Advancements in one technology fuel even more rapid advancements in the future, which in turn lead to greater complexity and greater technological power, and on and on. This is just a mistake. Kurzweil uses the Law of Accelerating Returns to explain why the Singularity is inevitable, but to be clear, he’s far from the only one who believes in this so-called law. “I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear.” My sense is that it’s an idea that comes from staring at Moore’s Law for too long. Moore’s Law is of course the famous prediction that the number of transistors on a chip will double roughly every two years, with a minimal increase in cost. Now, that has in fact happened for the last 50 years or so, but not because of some fundamental law in the universe. It’s because the tech industry made a choice and some very sizable investments to make it happen. Moore’s Law was ultimately this really interesting observation or projection of a historical trend, but even Gordon Mooreknew that it wouldn’t and couldn’t last forever. In fact, some think it’s already over.  These ideologies take inspiration from some pretty unsavory characters. Transhumanism, you say, was first popularized by the eugenicist Julian Huxley in a speech in 1951. Marc Andreessen’s “Techno-Optimist Manifesto” name-checks the noted fascist Filippo Tommaso Marinetti and his futurist manifesto. Did you get the sense while researching the book that the tech titans who champion these ideas understand their dangerous origins? You’re assuming in the framing of that question that there’s any rigorous thought going on here at all. As I say in the book, Andreessen’s manifesto runs almost entirely on vibes, not logic. I think someone may have told him about the futurist manifesto at some point, and he just sort of liked the general vibe, which is why he paraphrases a part of it. Maybe he learned something about Marinetti and forgot it. Maybe he didn’t care.  I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear. For many of these billionaires, the vibes of fascism, authoritarianism, and colonialism are attractive because they’re fundamentally about creating a fantasy of control.  You argue that these visions of the future are being used to hasten environmental destruction, increase authoritarianism, and exacerbate inequalities. You also admit that they appeal to lots of people who aren’t billionaires. Why do you think that is?  I think a lot of us are also attracted to these ideas for the same reasons the tech billionaires are—they offer this fantasy of knowing what the future holds, of transcending death, and a sense that someone or something out there is in control. It’s hard to overstate how comforting a simple, coherent narrative can be in an increasingly complex and fast-moving world. This is of course what religion offers for many of us, and I don’t think it’s an accident that a sizable number of people in the rationalist and effective altruist communities are actually ex-evangelicals. More than any one specific technology, it seems like the most consequential thing these billionaires have invented is a sense of inevitability—that their visions for the future are somehow predestined. How does one fight against that? It’s a difficult question. For me, the answer was to write this book. I guess I’d also say this: Silicon Valley enjoyed well over a decade with little to no pushback on anything. That’s definitely a big part of how we ended up in this mess. There was no regulation, very little critical coverage in the press, and a lot of self-mythologizing going on. Things have started to change, especially as the social and environmental damage that tech companies and industry leaders have helped facilitate has become more clear. That understanding is an essential part of deflating the power of these tech billionaires and breaking free of their visions. When we understand that these dreams of the future are actually nightmares for the rest of us, I think you’ll see that senseof inevitability vanish pretty fast.  This interview was edited for length and clarity. Bryan Gardiner is a writer based in Oakland, California.  #tech #billionaires #are #making #risky
    WWW.TECHNOLOGYREVIEW.COM
    Tech billionaires are making a risky bet with humanity’s future
    “The best way to predict the future is to invent it,” the famed computer scientist Alan Kay once said. Uttered more out of exasperation than as inspiration, his remark has nevertheless attained gospel-like status among Silicon Valley entrepreneurs, in particular a handful of tech billionaires who fancy themselves the chief architects of humanity’s future.  Sam Altman, Jeff Bezos, Elon Musk, and others may have slightly different goals and ambitions in the near term, but their grand visions for the next decade and beyond are remarkably similar. Framed less as technological objectives and more as existential imperatives, they include aligning AI with the interests of humanity; creating an artificial superintelligence that will solve all the world’s most pressing problems; merging with that superintelligence to achieve immortality (or something close to it); establishing a permanent, self-­sustaining colony on Mars; and, ultimately, spreading out across the cosmos. While there’s a sprawling patchwork of ideas and philosophies powering these visions, three features play a central role, says Adam Becker, a science writer and astrophysicist: an unshakable certainty that technology can solve any problem, a belief in the necessity of perpetual growth, and a quasi-religious obsession with transcending our physical and biological limits. In his timely new book, More Everything Forever: AI Overlords, Space Empires, and Silicon Valley’s Crusade to Control the Fate of Humanity, Becker calls this triumvirate of beliefs the “ideology of technological salvation” and warns that tech titans are using it to steer humanity in a dangerous direction.  “In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress.” “The credence that tech billionaires give to these specific science-fictional futures validates their pursuit of more—to portray the growth of their businesses as a moral imperative, to reduce the complex problems of the world to simple questions of technology, [and] to justify nearly any action they might want to take,” he writes. Becker argues that the only way to break free of these visions is to see them for what they are: a convenient excuse to continue destroying the environment, skirt regulations, amass more power and control, and dismiss the very real problems of today to focus on the imagined ones of tomorrow.  A lot of critics, academics, and journalists have tried to define or distill the Silicon Valley ethos over the years. There was the “Californian Ideology” in the mid-’90s, the “Move fast and break things” era of the early 2000s, and more recently the “Libertarianism for me, feudalism for thee”  or “techno-­authoritarian” views. How do you see the “ideology of technological salvation” fitting in?  I’d say it’s very much of a piece with those earlier attempts to describe the Silicon Valley mindset. I mean, you can draw a pretty straight line from Max More’s principles of transhumanism in the ’90s to the Californian Ideology [a mashup of countercultural, libertarian, and neoliberal values] and through to what I call the ideology of technological salvation. The fact is, many of the ideas that define or animate Silicon Valley thinking have never been much of a ­mystery—libertarianism, an antipathy toward the government and regulation, the boundless faith in technology, the obsession with optimization.  What can be difficult is to parse where all these ideas come from and how they fit together—or if they fit together at all. I came up with the ideology of technological salvation as a way to name and give shape to a group of interrelated concepts and philosophies that can seem sprawling and ill-defined at first, but that actually sit at the center of a worldview shared by venture capitalists, executives, and other thought leaders in the tech industry.  Readers will likely be familiar with the tech billionaires featured in your book and at least some of their ambitions. I’m guessing they’ll be less familiar with the various “isms” that you argue have influenced or guided their thinking. Effective altruism, rationalism, long­termism, extropianism, effective accelerationism, futurism, singularitarianism, ­transhumanism—there are a lot of them. Is there something that they all share?  They’re definitely connected. In a sense, you could say they’re all versions or instantiations of the ideology of technological salvation, but there are also some very deep historical connections between the people in these groups and their aims and beliefs. The Extropians in the late ’80s believed in self-­transformation through technology and freedom from limitations of any kind—ideas that Ray Kurzweil eventually helped popularize and legitimize for a larger audience with the Singularity.  In most of these isms you’ll find the idea of escape and transcendence, as well as the promise of an amazing future, full of unimaginable wonders—so long as we don’t get in the way of technological progress. I should say that AI researcher Timnit Gebru and philosopher Émile Torres have also done a lot of great work linking these ideologies to one another and showing how they all have ties to racism, misogyny, and eugenics. You argue that the Singularity is the purest expression of the ideology of technological salvation. How so? Well, for one thing, it’s just this very simple, straightforward idea—the Singularity is coming and will occur when we merge our brains with the cloud and expand our intelligence a millionfold. This will then deepen our awareness and consciousness and everything will be amazing. In many ways, it’s a fantastical vision of a perfect technological utopia. We’re all going to live as long as we want in an eternal paradise, watched over by machines of loving grace, and everything will just get exponentially better forever. The end. The other isms I talk about in the book have a little more … heft isn’t the right word—they just have more stuff going on. There’s more to them, right? The rationalists and the effective altruists and the longtermists—they think that something like a singularity will happen, or could happen, but that there’s this really big danger between where we are now and that potential event. We have to address the fact that an all-powerful AI might destroy humanity—the so-called alignment problem—before any singularity can happen.  Then you’ve got the effective accelerationists, who are more like Kurzweil, but they’ve got more of a tech-bro spin on things. They’ve taken some of the older transhumanist ideas from the Singularity and updated them for startup culture. Marc Andreessen’s “Techno-Optimist Manifesto” [from 2023] is a good example. You could argue that all of these other philosophies that have gained purchase in Silicon Valley are just twists on Kurzweil’s Singularity, each one building on top of the core ideas of transcendence, techno­-optimism, and exponential growth.  Early on in the book you take aim at that idea of exponential growth—specifically, Kurzweil’s “Law of Accelerating Returns.” Could you explain what that is and why you think it’s flawed? Kurzweil thinks there’s this immutable “Law of Accelerating Returns” at work in the affairs of the universe, especially when it comes to technology. It’s the idea that technological progress isn’t linear but exponential. Advancements in one technology fuel even more rapid advancements in the future, which in turn lead to greater complexity and greater technological power, and on and on. This is just a mistake. Kurzweil uses the Law of Accelerating Returns to explain why the Singularity is inevitable, but to be clear, he’s far from the only one who believes in this so-called law. “I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear.” My sense is that it’s an idea that comes from staring at Moore’s Law for too long. Moore’s Law is of course the famous prediction that the number of transistors on a chip will double roughly every two years, with a minimal increase in cost. Now, that has in fact happened for the last 50 years or so, but not because of some fundamental law in the universe. It’s because the tech industry made a choice and some very sizable investments to make it happen. Moore’s Law was ultimately this really interesting observation or projection of a historical trend, but even Gordon Moore [who first articulated it] knew that it wouldn’t and couldn’t last forever. In fact, some think it’s already over.  These ideologies take inspiration from some pretty unsavory characters. Transhumanism, you say, was first popularized by the eugenicist Julian Huxley in a speech in 1951. Marc Andreessen’s “Techno-Optimist Manifesto” name-checks the noted fascist Filippo Tommaso Marinetti and his futurist manifesto. Did you get the sense while researching the book that the tech titans who champion these ideas understand their dangerous origins? You’re assuming in the framing of that question that there’s any rigorous thought going on here at all. As I say in the book, Andreessen’s manifesto runs almost entirely on vibes, not logic. I think someone may have told him about the futurist manifesto at some point, and he just sort of liked the general vibe, which is why he paraphrases a part of it. Maybe he learned something about Marinetti and forgot it. Maybe he didn’t care.  I really believe that when you get as rich as some of these guys are, you can just do things that seem like thinking and no one is really going to correct you or tell you things you don’t want to hear. For many of these billionaires, the vibes of fascism, authoritarianism, and colonialism are attractive because they’re fundamentally about creating a fantasy of control.  You argue that these visions of the future are being used to hasten environmental destruction, increase authoritarianism, and exacerbate inequalities. You also admit that they appeal to lots of people who aren’t billionaires. Why do you think that is?  I think a lot of us are also attracted to these ideas for the same reasons the tech billionaires are—they offer this fantasy of knowing what the future holds, of transcending death, and a sense that someone or something out there is in control. It’s hard to overstate how comforting a simple, coherent narrative can be in an increasingly complex and fast-moving world. This is of course what religion offers for many of us, and I don’t think it’s an accident that a sizable number of people in the rationalist and effective altruist communities are actually ex-evangelicals. More than any one specific technology, it seems like the most consequential thing these billionaires have invented is a sense of inevitability—that their visions for the future are somehow predestined. How does one fight against that? It’s a difficult question. For me, the answer was to write this book. I guess I’d also say this: Silicon Valley enjoyed well over a decade with little to no pushback on anything. That’s definitely a big part of how we ended up in this mess. There was no regulation, very little critical coverage in the press, and a lot of self-mythologizing going on. Things have started to change, especially as the social and environmental damage that tech companies and industry leaders have helped facilitate has become more clear. That understanding is an essential part of deflating the power of these tech billionaires and breaking free of their visions. When we understand that these dreams of the future are actually nightmares for the rest of us, I think you’ll see that senseof inevitability vanish pretty fast.  This interview was edited for length and clarity. Bryan Gardiner is a writer based in Oakland, California. 
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  • Inside the thinking behind Frontify Futures' standout brand identity

    Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds.
    This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape.
    But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material.
    Endless variation
    What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project.

    "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser."
    Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system."
    One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg."

    Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion."
    Core Philosophy
    In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.'
    "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past."

    The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?"
    Stripped back and skeletal typography
    The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type."
    Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form."

    As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly."
    In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font."
    Design Process
    The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azuriofrom Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base.
    "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content.
    "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together."

    In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality.
    "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point.
    A provocation for the industry
    In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking.
    For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium.
    This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.
    #inside #thinking #behind #frontify #futures039
    Inside the thinking behind Frontify Futures' standout brand identity
    Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azuriofrom Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone. #inside #thinking #behind #frontify #futures039
    WWW.CREATIVEBOOM.COM
    Inside the thinking behind Frontify Futures' standout brand identity
    Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azurio (Cranny) from Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.
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