RE Bubbles; Record debt; About 50% overpriced; Collapse inevitable; Return to 2-4x income; Bail-outs essentially impossible…

Interview with Joseph Barbuto on ‘The Really Big Show”

As we have been saying, for too long…

Today's links

• The tedious power of storytelling: "Excitement" is to art as "falsifiablilty" is to science.
• Hey look at this: Delights to delectate.
• Object permanence: Lost Marx Bros musical; USPTO v Drumpf trademark; 3D scans v copyright; Giving worse internet to people with bad credit ratings; Class action over royalty theft; Trusbusting Prime; Trustbusting Google.
• Upcoming appearances: London, Kansas City, LA, Menlo Park, Toronto, NYC, Edinburgh, South Bend.
• Recent appearances: Where I've been.
• Latest books: You keep readin' em, I'll keep writin' 'em.
• Upcoming books: Like I said, I'll keep writin' 'em.
• Colophon: All the rest.

The tedious power of storytelling (permalink)

Yesterday, I attended a Brian Eno talk about the nature of creativity and art based on What Art Does, the short book he published with Bette Adriaanse last year:

https://www.faber.co.uk/product/9780571395514-what-art-does-an-unfinished-theory/

I haven't read the book (yet – I just ordered a copy), but the talk really got me fizzing. The subject matter (not just what art does, but also what art is) is one I've given a lot of thought to, and Eno's characteristic mix of gnomic koans and deceptively plainspoken assertions brought me along to some realizations of my own.

For Eno, art is "everything you don't have to do." You have to wear clothes to protect yourself from the elements, but you don't need to adorn those clothes. You need to speak to make yourself understood by the people around you, but you don't have to sing or write poetry or make up stories.

This is a really critical point, and I think it can be further refined by this: "Art is intended to make other people feel something." This distinguishes "art" from "beauty." A sunset can be beautiful, but no one intends anything by it. An artist who takes a photo or paints a picture of a sunset does so in the hopes that it will make you feel something, but the sun and the atmosphere and the Earth's curvature and rotation don't hope anything, because they are inanimate.

This distinction has lately become far more significant, thanks to the rise of images and words that have the seeming of intent, but who don't have an intender. When you paint a painting, every brushstroke conveys an intent, even if you can't point at an individual brushstroke and articulate its purpose. The same is true of prose: every word and punctuation mark is there for a reason, and "being good at writing" (like "being good at painting") is how we describe someone who has practiced so much that these reasons can be infused into each micro-decision on a near-totally subconscious level.

Contrast this with AI: when you prompt an AI to generate words or pixels, you are conveying some intent about the feeling you want the people who experience the model's output to experience. The problem is that the AI doesn't have any intent of its own – it just has statistical predictions, based on other people's intent, which it has analyzed through its training data.

So when the AI expands the three sentences in your prompt into 100,000 words or 1,000,000 pixels, it isn't adding any of its intention to the finished work, it's diluting the intention you fed to it. Three sentences divided by one million pixels yields an image that has an average intentionality that's so low that it's practically homeopathic.

Until recently, we weren't accustomed to encountering coherent strings of words or polished images that had no intender, so we imputed the existence of that intender to them, and we did what we always do when we encounter a work of art: we tried to mentally materialize a facsimile of the feeling the artist experienced while creating the work.

Because the intention of these works was so dilute, we ended up hallucinating an intent. We made up an imaginary artist who meant something by every choice in the work, and experienced an emotional affect that we ourselves had created out of (nearly) whole cloth.

As a species, we've been through this before. Think back to those sunsets. There was a time when we all thought of sunsets as being explicitly created by another being, who was in communication with us through the natural environment (some people still believe this). Looking at a sunset was an exercise in asking yourself, "If I were God, what would I be trying to say to me with this sunset?" just as looking at one of my photos of a sunset would be an exercise in asking yourself, "If I were Cory, what would I be trying to say to me with this photo of a sunset?"

The rise of materialism and scientific rationalism is sometimes called a "disenchantment" and indeed, there's a sense in which a sunset that we know to have no intender is no longer "enchanted." The experience of a sunset becomes something like, "Those colors and their interplay with the physical world is very beautiful." It might even be, "How could I capture that beauty in a painting or a photo or a description so that I could communicate it to someone else?" But it's not, "I wonder what God wants me to feel when I look at this sunset?"

So for many of us, the experience of AI "art" went from, "Wow, there's a person in the machine that's trying to tell me something," to "Wow, that is an impressive feat of software design, but it doesn't say anything to me." Maybe some of us think, "Huh, I could take some element of this, refine it with my own brushstrokes or words, and make something out of it." That's like thinking about turning a sunset into a painting: the sunset is striking and maybe beautiful, but it doesn't become art until you work at it, in order to make it communicate something:

https://pluralistic.net/2025/03/25/communicative-intent/#diluted

Mark Fisher describes the "seeming of an intent without an intender" as "eerie." It's true: when the door slams in the night and there's no one else in the house, it's eerie. But eeriness is easily dispelled: once you locate the open window that's creating the draft that's blowing the door closed, the eeriness regresses swiftly to the mean:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

Banishing eeriness may be straightforward, but preventing eeriness is much harder. We are prone to imputing intent to the things we see in the world. In "Genesis," an essay from EL Doctorow's (no relation) collection The Creationists, Doctorow describes the origins of the Babylonian creation story (which the Hebrews ripped off for Genesis 1:1-29 – Genesis is Babylonian fanfic). The Babylonians made up this story about how God created the heavens and Earth and so forth, and this story was so cool that they couldn't believe that they had just made it up, so they concluded that God must have put it in their minds:

https://www.penguinrandomhouse.com/books/41520/creationists-by-e-l-doctorow/

Back to Eno: central to his talk was the "theory of mind." To have a theory of mind is to be able to impute someone else's intent. It's when you ask yourself, "What does that person mean by the thing they just said or did?" Because art is a process by which an artist tries to get you to feel something, it requires that the artist have a theory about your mind. And because experiencing art is a process of trying to figure out what the artist wanted you to feel when you experienced their work, experiencing art also requires a theory of mind.

From time to time, I teach fiction writing workshops, and one of the lectures I always give is about how stories are a "fuggly hack":

https://locusmag.com/feature/cory-doctorow-stories-are-a-fuggly-hack/

It's very weird that storytellers can trick our brains into experiencing emotions based on empathy for "people" whom we know to be imaginary. Romeo and Juliet are made up, they never lived, they never died, and so, objectively speaking, their deaths are less tragic than the death of the yogurt you ate for breakfast. That yogurt was alive and now it's dead, after all. And yet, we weep for Romeo and Juliet.

Our automatic "theory of mind" processes create empathy for stuff even when we know that stuff is inanimate. But the purpose of narrative isn't getting you to experience empathy with an imaginary person. The purpose of narrative is to get you to experience that empathy so that you will feel something. In other words, the storyteller who describes a character who is swept away by the beauty of a sunset is trying to get you to feel "swept away" not "empathy for someone who is swept away."

There's lots of art that skips the step in which you are asked to first experience empathy for an imaginary person in order to arrive at some feeling. A lot of music, visual art, dance, and poetry seeks to evince that feeling in you directly.

When this works, it's profound. I think about this a lot in terms of built environments, specifically Disney themepark rides. When I started hanging around with Imagineers (the multidisciplinary artists who design and execute these rides), I noticed that they made frequent reference to the role of narrative storytelling in their ride designs, which was weird, because the very best Disney rides do not use narrative to evince a feeling.

Think of two Disney rides: Snow White's Enchanted Wish (1955); and The Little Mermaid: Ariel's Undersea Adventure (2011). In Snow White, riders follow a track through a series of animated vignettes with UV-fluorescing painted backdrops and an orchestral soundtrack. There are almost no words spoken in the soundtrack. The ride's vignettes recreate scenes from the 1937 animated film, but they don't make any attempt to explain the plot of the movie.

A rider who'd never seen Snow White and the Seven Dwarfs could not recount the plot of the movie to you. However, that rider could absolutely convey the emotional affect of every scene in the film. It is a near-perfect transmission of the feelings evinced by the movie, notwithstanding that it bypasses recounting the film's narrative.

By contrast, The Little Mermaid ride is what's sometimes pejoratively called a "book report ride." The scenes are full of dialog, and they explicitly re-create the storyline of the 1989 film. These scenes are well-executed, with lots of clever mechanical effects and skillfully painted and sculpted scenes and robots. A rider who never saw the film could give you a scene-by-scene breakdown of it – but they could not tell you about any of the emotional beats of the film. For all that the ride faithfully recreates the story of the film, it does so at the expense of the purpose of the film, the feeling the film is designed to evince from its audience.

As a novelist, I find it natural that someone trying to build a Little Mermaid ride would start from the premise that it should explicitly retell the story of the film. If you want an audience member to experience a feeling, narrative gives you the opportunity to explicitly describe the feeling you want the audience member to experience. You can situate a character on a lonely beach at sunset and tell the reader how that character feels.

The problem is that while this has an increased likelihood of being high-fidelity way of transmitting a feeling, it also has an increased likelihood of being a low-intensity way of conveying that feeling. When you tell someone about what's going on in another person's mind (including an imaginary person's mind), it doesn't fire up the theory-of-mind machine in the way that asking someone to infer the state of someone else's mind from implicit cues does.

This is why fiction writers are exhorted to "show, not tell." Dramatic, implicit evocations of an emotion are intrinsically more interesting than explicit statements about emotions. That's not to say that exposition can't evince an emotion – it can and does. It's just harder to do this with exposition than it is to do it with dramatization:

https://maryrobinettekowal.com/journal/my-favorite-bit/my-favorite-bit-cory-doctorow-talks-about-the-bezzle/

In his talk yesterday, Eno discussed abstract art, and the way that it evinces feelings in the viewer directly, without ever telling you what to feel. This is in keeping with much of Eno's own art (he recently told me that when he writes lyrics, he never uses the words "I," "me," "you," or "love").

In this theory I'm developing here, we could say that the more abstract a work is, the harder it is to evince a specific feeling with high fidelity, but the more likely it is that the feelings it does evince will be intensely felt. When your aesthetic sense resonates with a Henry Moore bronze or an Eno ambient track, the thrum is deep and strong.

Key to this theory is that it's about how hard it is for an artist to evince a feeling and how hard it is for the artist to make that feeling intense. Abstract art is more likely to be misunderstood (or not understood) than explicit narratives, but lots of abstract art is very well understood by people for whom it resonates. Explicit narratives are more likely to have a flatter affect than work that attempts to skewer your emotions directly, but plenty of explicit narratives make you feel the most profound emotions you're capable of feeling.

Imagine a 2×2 grid with "intensity" on one axis and "fidelity" on the other. It's easier to evince an intense feeling when you are more abstract, but it's harder to control what that feeling will be. These are works that operate on an implicit theory of mind ("I think I know what you'll feel when you see this"). It's easier to control the feeling you're evincing when you are more concrete, but it's harder to make that feeling an intense one ("I will tell you what someone else is feeling using this work").

None of this is to establish a hierarchy of art. As Eno says, the value of art is in whether it makes you feel something and what it makes you feel – not how that feeling is drawn forth. In What Art Does, Eno describes both art and science as an extension of our natural, in-born tendency to play. The difference is that we judge the success of science based on whether we can validate its conclusions, while we judge the success of art based on whether it excites us:

'Excitement' is to art as 'falsifiability' is to science.

(With thanks to Brian Eno.)

Hey look at this (permalink)

• Meta legal action forces Facebook whistleblower to sit in silence at Hay festival https://www.theguardian.com/technology/2026/may/31/meta-legal-action-forces-facebook-whistleblower-to-stay-silent-at-hay-festival

• EU Wants To Break Up With US Tech https://www.barrons.com/news/eu-wants-to-break-up-with-us-tech-5a8da16b

• The rise of the McModern https://web.archive.org/web/20201013161651/https://archive.curbed.com/2017/6/30/15893836/what-is-mcmansion-hell-modern-suburbs-history

• Merchandizing the Void https://dilettantearmy.com/articles/merchandizing-the-void

• Hundreds of prolific Wikipedia editors are threatening to go on strike https://www.theverge.com/report/939442/wikipedia-editors-protest-wikimedia-layoffs-strike

Object permanence (permalink)

#20yrsago IRS insider accuses agency of giving archives to lowest bidder https://web.archive.org/web/20060614142129/http://wftm.diaryland.com/060601_71.html

#20yrsago Telemedicine rigs coming to all Virgin jets https://web.archive.org/web/20060616063357/http://europetravelnews.com/2006_05/844_virgin-atlantic-life-saving-technology/

#15yrsago Con artists caught tricking med-students into helping with high-tech entrance exam cheat https://web.archive.org/web/20110603051231/https://www.cbc.ca/news/canada/british-columbia/story/2011/05/31/bc-high-tech-mcat-scam.html

#10yrsago How a “lost” Marx Brothers musical found its way back to the stage https://web.archive.org/web/20160602114803/https://www.newyorker.com/culture/culture-desk/how-a-lost-marx-brothers-musical-found-its-way-back-onstage

#10yrsago How security and privacy pros can help save the web from legal threats over vulnerability disclosure https://iapp.org/news/a/how-you-can-help-white-hat-security-researchers

#10yrsago US Patent and Trademark Office refuses to issue “Drumpf” trademark https://www.worldipreview.com/trademark/drumpf-trademark-application-refused-by-uspto-10210

#10yrsago How an engineer/public health whistleblower led the citizen scientists who busted Flint’s water crisis https://web.archive.org/web/20160604112755/https://www.wired.com/2016/06/flint-water-marc-edwards/

#10yrsago Why 3D scans aren’t copyrightable https://web.archive.org/web/20160605140300/https://www.shapeways.com/blog/archives/25599-new-whitepaper-on-3d-scanning-and-the-lack-of-copyright.html

#10yrsago Cable One used customers’ credit scores to decide how good their internet would be https://wetmachine.com/tales-of-the-sausage-factory/broadband-privacy-can-prevent-discrimination-the-case-of-cable-one-and-fico-scores/

#10yrsago Class action: publishers paid writers “sale” royalties on ebooks whose fine-print says they’re “licensed” https://www.copylaw.org/2016/05/simon-schuster-hit-with-ebook-royalties.html

#5yrsago The antitrust case against Prime https://pluralistic.net/2021/06/01/you-are-here/#prime-facie

#5yrsago Google cheats on location privacy https://pluralistic.net/2021/06/01/you-are-here/#goog

#5yrsago Canadian telco monopolists run the show https://pluralistic.net/2021/06/01/you-are-here/#crtc

Upcoming appearances (permalink)

• SXSW London, Jun 2
  https://www.sxswlondon.com/session/how-big-tech-broke-the-internet-b3c4a901

• Kansas City: Facing the Future (Woodneath Library Center), Jun 10
  https://www.mymcpl.org/events/119655/facing-future-cory-doctorow

• LA: The Reverse Centaur's Guide to Life After AI with Brian Merchant (Skylight Books), Jun 19
  https://www.skylightbooks.com/event/skylight-cory-doctorow-presents-reverse-centaurs-guide-life-after-ai-w-brian-merchant

• Menlo Park: The Reverse Centaur's Guide to Life After AI with Angie Coiro (Kepler's), Jun 21
  https://www.keplers.org/upcoming-events-internal/cory-doctorow-2026

• Toronto: TBA, Jun 23

• NYC: The Reverse Centaur's Guide to Life After AI with Jonathan Coulton (The Strand), Jun 24
  https://www.strandbooks.com/cory-doctorow-the-reverse-centaur-s-guide-to-life-after-ai.html

• Philadelphia: The Reverse Centaur's Guide to Life After AI with David Williams (Fitler Club/Philadelphia Citizen), Jun 25
  https://www.eventbrite.com/e/cory-doctorow-book-event-tickets-1990110326559

• Chicago: The Reverse Centaur's Guide to Life After AI with Rick Perlstein (Exile in Bookville), Jun 26
  https://exileinbookville.com/events/50628

• Edinburgh International Book Festival with Jimmy Wales, Aug 17
  https://www.edbookfest.co.uk/events/the-front-list-cory-doctorow-and-jimmy-wales

• South Bend: An Evening With Cory Doctorow (Notre Dame), Oct 6
  https://franco.nd.edu/events/2026/10/06/an-evening-with-cory-doctorow/

Recent appearances (permalink)

• On Enshittification – and what can be done about it (Re:publica)
  https://www.youtube.com/watch?v=KhINQgPMVSI

• EFFecting Change: How to Disenshittify the Internet (EFF, with Wendy Liu)
  https://archive.org/details/effecting-change-enshittification

• The “Enshittification” of Everything (Bioneers)
  https://bioneers.org/cory-doctorow-enshittification-of-everything-zstf2605/

• Enshittification (99% Invisible)
  https://99percentinvisible.org/episode/666-enshittification/

• Artificial Intelligence: The Ultimate Disruptor, with Astra Taylor and Yoshua Bengio (CBC Ideas)
  https://www.cbc.ca/listen/live-radio/1-23-ideas/clip/16210039-artificial-intelligence-the-ultimate-disruptor

Latest books (permalink)

• "Canny Valley": A limited edition collection of the collages I create for Pluralistic, self-published, September 2025 https://pluralistic.net/2025/09/04/illustrious/#chairman-bruce

• "Enshittification: Why Everything Suddenly Got Worse and What to Do About It," Farrar, Straus, Giroux, October 7 2025
  https://us.macmillan.com/books/9780374619329/enshittification/

• "Picks and Shovels": a sequel to "Red Team Blues," about the heroic era of the PC, Tor Books (US), Head of Zeus (UK), February 2025 (https://us.macmillan.com/books/9781250865908/picksandshovels).

• "The Bezzle": a sequel to "Red Team Blues," about prison-tech and other grifts, Tor Books (US), Head of Zeus (UK), February 2024 (thebezzle.org).

• "The Lost Cause:" a solarpunk novel of hope in the climate emergency, Tor Books (US), Head of Zeus (UK), November 2023 (http://lost-cause.org).

• "The Internet Con": A nonfiction book about interoperability and Big Tech (Verso) September 2023 (http://seizethemeansofcomputation.org). Signed copies at Book Soup (https://www.booksoup.com/book/9781804291245).

• "Red Team Blues": "A grabby, compulsive thriller that will leave you knowing more about how the world works than you did before." Tor Books http://redteamblues.com.

• "Chokepoint Capitalism: How to Beat Big Tech, Tame Big Content, and Get Artists Paid, with Rebecca Giblin", on how to unrig the markets for creative labor, Beacon Press/Scribe 2022 https://chokepointcapitalism.com

Upcoming books (permalink)

• "The Reverse-Centaur's Guide to AI," a short book about being a better AI critic, Farrar, Straus and Giroux, June 2026 (https://us.macmillan.com/books/9780374621568/thereversecentaursguidetolifeafterai/)

• "Enshittification, Why Everything Suddenly Got Worse and What to Do About It" (the graphic novel), Firstsecond, 2026

• "The Post-American Internet," a geopolitical sequel of sorts to Enshittification, Farrar, Straus and Giroux, 2027

• "Unauthorized Bread": a middle-grades graphic novel adapted from my novella about refugees, toasters and DRM, FirstSecond, April 20, 2027

• "The Memex Method," Farrar, Straus, Giroux, 2027

Colophon (permalink)

Today's top sources:

Currently writing: "The Post-American Internet," a sequel to "Enshittification," about the better world the rest of us get to have now that Trump has torched America. Third draft completed. Submitted to editor.

• "The Reverse Centaur's Guide to AI," a short book for Farrar, Straus and Giroux about being an effective AI critic. LEGAL REVIEW AND COPYEDIT COMPLETE.

• "The Post-American Internet," a short book about internet policy in the age of Trumpism. PLANNING.

• A Little Brother short story about DIY insulin PLANNING

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Classic red sauce joints conjure up images of countryside murals, black-and-white family photos, and of course, checkered tablecloths. Customers today fondly recall these spots filled with homespun charm, but now favor an easy glamour rather than overwrought decoration. For il Bracco, the designers at Maison Interiors looked to Italian Modernism for inspiration to provide guests with an elevated dining experience that’s aspirational yet still approachable.

Located in the resort destination of Scottsdale, Arizona, studio co-founders Mary Lu Quick and Mary Bryan collaborated with restaurant group Western Addition on the project, with an emphasis on the outdoor lifestyle favored by the desert city’s residents. “We wanted it to have an effortless, vacation feel, but to also be a place where guests can dress up for dinner,” says Quick.

The duo combined an array of materials in the bi-level space, paired for maximum style and durability in high-traffic areas. The greeter stand, made of cork, adds texture that mirrors the mosaic-esque flecks in the floor. Sliding glass doors open out onto the patio, where diners can enjoy a meal after a round of golf.

Walnut and white oak offer warmth and just enough contrast, including a patchwork arrangement on the back wall. Cream-colored brick has a sun-washed quality that complements dark wood tabletops. The leather booths are detailed with refined piping that is reminiscent of an impeccably tailored suit.

Polished chrome elements are a nod to the vintage Italian boats that dot Lake Como. The palette of sage-green tones and rich browns is punctuated by yellow, which surrounds the dining room in a sepia-infused softness.

The restroom vestibule is a surprising spot that channels 1970s Italian chic. An interplay of travertine and Calacatta marble is pure luxe underfoot. Vintage metal hardware on doors is meant to showcase the patina of age, like treasured heirlooms. Square ceramic tiles in a cola tint wrap the interior of this area in an immersive sheen.

With a blend of modern and nostalgic touches, il Bracco has a timeless appeal that invites patrons to stay and savor. “These layering moments, such as one would find in home, connect the different spaces to create this refined environment,” Bryan notes.

To see this and other works by the studio, visit maisoninteriorsny.com. Or to explore the establishment’s other locations, visit ilbraccorestaurant.com.

Photography by Lacey Land.

The secondary market for decades old, low-tech John Deere tractors has been booming for years as farmers have sought reliable tractors that they can actually fix without having to deal with John Deere’s repair monopoly. A Canadian company has seen that demand and came up with a radical thought: What if they made a new, repairable, “no-tech” tractor to solve what has become a gigantic pain point for farmers?

Alberta’s Ursa Ag says that it has been inundated with demand after announcing its tractor, which costs roughly half as much as a Deere and has the benefit of not being a repair nightmare. We have for years covered the frustration that farmers have felt as they have been locked out of their Deere tractors with digital rights management systems that prevent them from fixing their machinery, tractors that won’t run because of minor sensor failures, and crops that literally die on the vine as they wait for an “authorized” repair person to fix tractors during critical harvesting periods. 

Ursa Ag markets its tractors as “no frills” and “built to last.” Ursa Ag’s Doug Wilson told me that the company designed the tractor because of a need in the marketplace for a new machine that isn’t loaded with tech and is easy to maintain. The company follows in the footsteps of consumer electronics companies like Fairphone, which makes a repairable smartphone and Framework, which makes modular, repairable laptops. The demand Ursa Ag has seen is part of the backlash to manufacturer repair monopolies and the injection of technology and internet-connected sensors and terms of use into even the most basic of gadgets. 

“I talk to farmers every day and I hear from farmers every day about how they went out and bought machinery from 1987 so that it wouldn’t have a computer on it,” Wilson said. “All of this came from a simple discussion with a customer who wanted to be able to turn [the tractor] on at the start of the day, to use it, and shut it off at the end of the day. It needed to work, so that’s what we built.”

Ursa Ag’s tractor has been hyped in agriculture circles after Wilson showed the tractor off at a Canadian farm show and it was featured by Farms.com. Wilson said more than a thousand farmers have contacted him after that show, from roughly 30 countries. “I got a handwritten letter from a farmer in France who doesn’t own a computer and wanted us to mail him information about the tractors,” he said. 

He said the company has thus far made a couple fewer than 100 tractors but is working on tripling its production capacity and has seen a lot of demand over the last few months. For years, people who don’t understand the repair monopoly issue—that John Deere controls the parts production and distribution for its tractors, the software that runs its tractors, the diagnostics for its tractors, and the repair guides for its tractors—have said that farmers should simply vote with their wallets and buy tractors from a different company. The problem has been that, until now, there hasn’t really been an alternative company that doesn’t have similar repair practices. Ursa Ag is filling that niche. Perhaps other companies will pop up to sell low- or no-tech, repairable appliances and gadgets.

“Given the number of my customers that carry flip phones, I would say there is consumer pressure to back away from some of the technology that is unnecessary to perform everyday tasks,” Wilson said. “So that is definitely transferable to dishwashers and washing machines, refrigerators. Refrigerators that have screens on them that'll tell you what's inside. It's a little crazy.”

“That high-tech stuff, the million-dollar John Deere tractor has a place. It has technology that is well worth the money,” Wilson said. “But that technology is needed for 5 percent of what a farm does. There are so many applications for tractors on farms that don’t require technology. The technology that goes into even a calculator is not required for most farming applications.” 

The moderators of the biohacking subreddit say that peptide and hormone replacement therapy companies have been surreptitiously spamming Reddit in an attempt to get their posts scraped by AI chatbots. The strategy is an effort to systematically manipulate the answers provided by chatbots by manipulating the underlying source material that those chatbots will scrape—in this case, a popular Reddit community. 

In a post last week, the moderators of r/biohackers said they would be banning new posts about peptides and hormone replacement therapy (HRT) because of attempted manipulation by the companies that make, market, and sell them. r/Biohackers is a long-running subreddit about using supplements, experimental pharmacology, and other longevity or fitness-adjacent themes; peptides and HRT have become a wildly popular topic of discussion on the subreddit, especially as companies try to market them off-label or as grey-market compounds. 

“As AI search engines increasingly pull answers from Reddit, companies are using us for AEO. On top of that, there's been an explosion of peptide interest and AI usage flooding the sub. Together, this has put serious pressure on content quality,” a post by the moderators read. 

AEO is AI-engine optimization, and it is an evolution of search engine optimization where brands and marketing companies attempt to create content that they hope will be scraped by large language models. Manipulating Reddit with bots, sock puppet accounts, and human accounts that are paid to promote brands has become a core strategy of firms that do AEO, because Reddit has become one of most-often cited sources by popular AI tools like ChatGPT and Google’s AI search. For example, a company called RedRover offers AEO and SEO for companies; on its home page, it says “rank #1 on Search and get cited by AI: AI agents that mass publish content to help you rank on Google, ChatGPT, and Reddit—driving traffic to your site from every corner of the internet.”

“An army of agents publishing blog content & reddit posts that solves both SEO & AEO at scale,” RedRover advertises.

Peptides cover a spectrum of injectable amino acids, from GLP-1 to a series of compounded and grey-market substances that can be used for muscle growth and recovery, hair growth, skincare and anti-aging, and a host of other uses; HRT is also used for many reasons, including by trans people as gender-affirming care, but also by women going through perimenopause or menopause, and by people in the life extension and biohacking communities. Both of these industries have exploded in recent years. The industry is made up of a mix of companies trying to operate in a legitimate way and sketchier companies whose products may be unsafe. Basically, it’s something of a health Wild West.

“We see the rise of things like peptides, compounds that are becoming mainstream that don't have much regulation, and we see so much potential and like opportunity for innovation for clinically validating them,” one of the moderators of the biohackers subreddit told me on a call. “But we’re also seeing this alongside incredibly risky sourcing, teens posting about wanting to grow an extra few inches. And then we’re seeing AI manipulation from vendors trying to promote these peptides and get kids to source from them.”

“These two things together have become untenable for us, and after trying so many different strategies to use Reddit’s tools to prevent this from being a problem, we just made this call,” to limit posts about peptides and HRT to weekly “megathreads,” they added. “I just feel like, the dead internet, there’s this sadness I feel of this one place on the internet that was so human is sort of eroding and becoming bogged up with artificial AI-driven content. I think that’s super depressing.”

Given the health and self-experimentation nature of the subreddit, the moderator said that they were worried that a sketchy company will promote their product, and someone will use it and get hurt. 

“There's an element of brands using Reddit to manipulate consumers and get people to buy their products and sort of the ethics of marketing and how the attention economy is sort of evolving under AI. That’s it’s own problem,” the moderator said. “But then for us specifically, it’s like how do we prevent actual physical harm?”

It has become incredibly difficult to stop Reddit manipulation, because the firms doing it are getting more sophisticated. The moderator said that there are really standard and long-running strategies where brands will hop in the comments and suggest their products: “That type of marketing has always existed and if people want to try something new because the brand resonated with them, cool. That’s the way marketing should flow in my mind,” they said. 

“But what I’m seeing that is way scarier to me is that there are companies that will reverse-engineer the actual prompt patterns that are prioritized by LLMs, and so you’ll see someone post a super clickbait, high-traction, vague question like ‘Is all the hype around Vitamin D actually worth it?” they added. “And that thread will do really well because everyone on biohackers actually has an opinion, so it gets engagement and prioritized by LLMs, and then brands will sneak in and they’ll embed their brand mentions in those threads in the exact right places in a seemingly organic way. But none of it is organic, the entire thing is a strategy by an agency to prioritize brand mentions or a narrative within an LLM.”

The Reddit accounts that are doing this are “warmed up” or are made to seem human, meaning they have a posting history that is not just promotional. This makes them much harder to detect and moderate against. Some of the agencies doing this are paying real people to post promotional content, or have built communities where people are incentivized to post promotional content. The moderator said that Reddit’s automated moderation tools have been helpful, but that the type of promotion happening has become so sophisticated that it has become more of a you-know-it-if-you-see it kind of thing. 

“A lot of it has become pattern recognition,” they said. “You literally just sort of know what to look for. But the problem is you don’t want to become punitive to the people who aren’t doing this maliciously, and so I think the over-moderation risk is very real.”

A Reddit spokesperson told 404 Media that it is always working on new tools to help moderators catch manipulation: “Our internal Safety teams leverage human review and sophisticated automated tooling to detect and remove this content at massive scale, and we have over two decades of experience in doing so,” the spokesperson said. “On top of this, we also provide moderators with automated tooling that can detect and suspend users likely to be spammers.”

Rein zeitlich betrachtet liegt hier schon etwas Staub drauf, was dem akustischen Vergnügen allerdings keinerlei Abbruch tut. Ein Ambient Special, das Douglas Greed damals für den mellowcast zusammengestellt hat und das mir gerade ausserordentlich gut in die Stimmung passt.

mellow · mellowcast #035 | douglas greed 𝐴𝑀𝐵𝐼𝐸𝑁𝑇 𝑆𝑃𝐸𝐶𝐼𝐴𝐿