Sean Bonner

misanthropologist
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Personal Uniform Update 2024

A few inquiries lately so figured it was time for a check in / update. As I’ve noted in pervious years – where I am, specifically the weather where I am, has a shaping influence on the basic set up. I’ve been living in Vancouver now for going on 4 years which is much cooler climate wise than Tokyo and that’s reflected in the modifications I’ve made since then – though if you read my last update this one is probably predictable.

Socks – I’m about 50/50 between Stance cotton socks and Darn Tough wool socks. You’ll recall that one of the things I loved about Darn Tough was their 100% guaranteed no questions asked replacement policy which essentially means you buy them once and then for the rest of your life if your socks wear out you can replace them for free. One of the things I’ve learned about Canada since living here is that there’s a bunch of exceptions for everything. I’ve been told a lot of this is due to panic that foreign companies were going to come in and take over the market, so there’s a bunch of laws and policies requiring business goes through Canadian companies which has led to some obnoxious monopolies and a bunch of “exceptions” to policies that apply globally, but not in Canada. Darn Toughs policy is one of those. So rather than just sending them in and them sending you new ones, you have to send them to their Canadian distributor with a note explaining what went wrong and why and they will then decide if they replace them or not. In the last 4 years I’ve sent in 4 pairs of socks, one was rejected because I didn’t buy the socks in Canada, one was approved but it took 3 months to get the replacements, and two other pairs just disappeared, and Darn Tough hasn’t responded to any of my inquiries about them. So if the goal was to make the policy too painful for anyone to take advantage of, consider that a success. As a result I’ve been getting Stance socks instead, which are very comfortable but not really as durable so I just know I’ll have to buy replacements next year.

Underwear – David Archy Bamboo Boxer Briefs. Bamboo is such a great fabric for underwear, so comfortable and more sustainable than whatever synthetic blends most “tech fabrics” are made of.

T-shirts – Reigning Champ mid weight standard. These are great and I prefer them over everything right now. One of the selling points of wool shirts was “wear them for several days without worrying about washing them” and while cotton isn’t as forgiving, these are solid enough that they can easily be worn 2 days in a row without any concern at all. I really like this cloth weight and build quality. If I could get this exact same thing in Bamboo rather than cotton it would be my dream come true, but so far Bamboo seems to always be much thinner and not as structurally rigid. I hate thin t-shirts and that ended up being part of the deal killer with the Outlier wool shirts, they were either so super thin that I felt like my nipples were going to rip through them or so thick that they couldn’t be worn anytime outside of the dead of winter and took days to hang dry after washing. Also the ethical trade off was no bueno.

Pants – Still on my Iron Heart Japan jeans kick. I’ve got 4 pair of various weights, 14oz, 18oz and 24oz. Iron Heart repairs these for free in Japan too, so as they’ve worn over the years I coordinate dropping them off when I’m in Tokyo and they mend them in a way that seems unheard of outside of Japan. They don’t just slap on a patch, they re-thread seams and darn the denim so when I get them back it’s like thy never had a hole or rip. It’s incredible. I hunted all over Canada to find anyone doing repairs like this, and no one even comes close. The Russian seamstress at the tailor down the street from me almost ripped my head off for asking if they could repair without a patch. I prefer black pants, the 24oz ones only come in blue. So I attempted to dye them at home with some RIT dye which was kind of successful? For a few months anyway, then it kind of washed out and was a bit messy in the process. That said, I do like the black so I’ll probably dye them again.

Most of the time I’ll add a crew neck sweatshirt or sweater because I’m running a bit cold these days and prefer long sleeves. If it’s hotter I’ll swap to light hoodie or track jacket zip up thing.

Shoes – I realized the toe box on some of my smaller profile “skate” shoes were cramping my toes and starting to hurt, so I’ve switched back to Adidas shell toes almost entirely and with their new official vegan versions I don’t have to hunt for all synthetic models as hard as I used to. The big toe area is much more comfortable and they are fairly water resistant too which is good here where it rains so much. I have some Gore-Tex Adidas cross/hike shoes that I’ll use if we’re going out into the woods, but I don’t love them so not going to specifically recommend.

Goodbye Shane

Shane MacGowan is dead. He was 65. If I’m honest I’m equally surprised he lasted this long, and that he didn’t pull a Keith Richards and live forever in spite of it all. As far as I’m concerned Shane was the greatest living Irish poet, which would put him high on the list of greatest contemporary poets period. He would argue that poetry and songwriting are the same thing and I wouldn’t argue with that.

His songs were simultaneously beautiful and horrific, heartbreaking and lustful. From The Nips, to The Pogues, to The Popes. Glorious. Disgusting. The picture that he painted of life, from the down trodden to the rebels to the lovers to the adventurers, was more vivid and authentic than anything his peers were doing at the time.

Contrast “A Pair of Brown Eyes” with “Boys From The County Hell” with “Old Main Drag” with “Sunny Side of the Street” and try to find that musical and topical range anywhere else. I dare you. Shane could write in a way that made a homeless drunk sound glamorous and aspirational, effortlessly bouncing between politics to religion to sex to every other aspect of the human experience. Poppy upbeat songs about the broken underbelly of it all right into slow beautiful songs about lost love. He could make straight edge kids want to drink whiskey with a song. God I fucking loved this guy. His ‘Friends of Shane’ is the only fanclub I ever joined, and in hindsight regret how many times I wrote in asking if Shane had been to a dentist recently.

I was introduced to The Pogues with “If I Should Fall From Grace With God” and it shattered my entire idea of what punk rock was and could be, and set me off on a journey that would lead to from Gainesville Florida to decrepit pubs in the back alleys of Cork, and basement record stores in Dublin. It’s possible that I may have taken some of the same roads that I did if I’d never heard of Shane but I think it would have been far less likely. I have all of his records, I hunted them down long ago and have listened to and sung them all a million times. I know all the lyrics by heart. And this has lead to wonderful moments like hearing “Sunnyside of the Street” in a random car commercial, delicately edited to make people think buying a car will make them happy, but knowing that the song is actually so much darker.

“Seen the carnival at Rome. Had the women and I had the booze. All that I can remember now is little kids without no shoes. So I saw that train and I got on it, with a heart full of hate and a lust for vomit.
Now I’m walking on, the sunnyside of the street”

I was going to embed the perfectly recorded album version of the song, but decided this 1990 live version, at the height of his wreckage was more fitting. If you think punk rock is leather and spikes and mohawks you haven’t seen anything. There’s a tin flute in this motherfucker:

I could spend all day talking about his different albums and the songs and the impact each one had on me at different points, like the best writers he touched me with his words and imagination and helped me understand and see things in ways I never would have. This is what poetry should be. This is what punk rock should be. But I think some of that is meaningful only to me, and should stay that way. I will just take this moment to say say Goodbye Shane, and thank you for all the beauty and chaos you brought into this world. Your legacy will live forever.

Long live Shane MacGowan.

“Cram as much pleasure as you can into life, and rail against the pain that you have to suffer as a result.”

Dine Alone

One of my favorite bands played in Vancouver last night. I’ve had tickets for the show since the day they went on sale 6 months ago. I was so excited about it, but as the date grew closer that excitement gradually turned into fear. I didn’t go. 

Maybe I let the anxiety win. Maybe I’m feeling sorry for myself. Maybe both, but that’s where I am right now, in my head, one way or another. I was going to write about the band – Quicksand (for anyone who didn’t get the title reference, and naturally Gorilla Biscuits before them) and what they meant to me, the impact they had on my life and moments/memories they will forever be attached to. But as I thought about it, the band itself is kind of irrelevant in this whole story. Mostly. It’s more a me thing. 

This tour was the 30th anniversary of the release of the first album. I tried to remember the last time I saw them play, I’ve seen them so many times, all these years later the shows kind of blend together in my mind. The feeling anyway. Packed in a crowd, surrounded by friends, all of us singing along to every word. This is something about growing up in the hardcore/punk that there’s no way to explain to people who didn’t experience it. As kids we didn’t fit in. We were outcasts and rejected by most similar aged peer groups, but it didn’t matter because with punk we had each other. Friends became family and you knew, no matter what, that they were there for you. It was the Cheers thing – a place where everyone knew your name and was always glad you came. Oddly important is that a lot of these situations were incredibly violent, but that’s probably a story for another time. The point is that we all gladly opted into a dangerous situation because it felt like home, the only feeling of home some of us had ever really had. It was a scary place, but it was our scary place.

This was my whole life. The music, the message, the people. Almost 40 years later and I’m still in touch with many of those people today, the bonds run that deep. In Florida and in Chicago when I’d go to shows I knew everyone. Literally. Every single person in attendance and in the bands and working the venues. I knew them all. We had grown up together. I moved to Los Angeles at 26 and didn’t really know many people in town, didn’t know what bands were around or where they might be playing. I remember several times that first few years feeling an overwhelming sense of disappointment when I’d hear, usually a few days later, that a band who I knew had been playing in town and I’d missed it. I felt like this hugely important part of my life was slipping away. 

I eventually figured it out and started going to shows again but it was different. I didn’t know everyone anymore. I knew some people and that was great, but most of the people were strangers to me. It was weird because this thing, this place that had always been my briar patch didn’t quite fit anymore. It was like a favorite shirt that shrunk in the wash. So I’d go, and enjoy it, but also have this sinking sick feeling. And I went less often because of it.

That was multiplied by a million when I moved to Japan. The only way I could square it was when I knew the band or someone in the band and could go with them, so I felt a part of it somehow. I’d take pictures and hang out before or after the show with them and it was a wonderful way to feel like I still had some connection to this thing I loved. This thing that made me. But I’d also look at the audience, recognize what they were experiencing and at the same time know that I couldn’t experience it with them. If I was in the crowd rather than on stage, I’d feel surrounded by strangers rather than friends. I would always be an outsider. That was a hard one to reconcile let me tell you. 

(Terror, Tokyo, 2019)

Over the last many years there’s been a handful of shows that I’ve bought tickets for and gone to on my own, alone. The last Murder City Devils show in Los Angeles stands out in my head as an example. I went. I danced. I screamed my heart out. I even broke a rib when some dude hit me at just the wrong angle. I loved every second of it. I also left feeling depressed and lonely. I didn’t know anyone there. I wasn’t going out after the show for food with anyone. I remember thinking about it as I drove home, weirdly that hurt more than my ribs. 

So I’ve lived in Vancouver for over 3 years now and I’ve never been to a single show here. I barely know anyone in this whole city. 100% of my friend circle is online, in other places, far away. Friends I’ve known forever and love like family, and friends I’ve only just met through various shared interests. All impossibly distant. 

And also, a lot of them are still together. Not all, some have drifted away to other lives and others didn’t survive this long. And sure some of this can be chalked up to social media posturing but I see my friends, people I love, hanging out together and having a great time. I buy records from various bands and see that my friends are doing guest spots, singing or playing on songs. I hear their voices and it makes me smile. And simultaneously bums me out. To be clear I don’t regret my choices or the direction I’ve gone, but that doesn’t mean I don’t miss the routes I didn’t take. And given the chance I wouldn’t do anything differently, so this isn’t a wallowing “gosh I wish I had a do over” or some bullshit like that. It’s just an observation of melancholy. I’ll avoid the infinite sadness joke. 

So last night, as much as I love this band and these songs, I knew going would have been depressing. I would be a stranger. It would be a room full of people that I should have connections with, but don’t. The band on stage would be a friends of friends, but not friends. Know what I mean? In a different situation completely approachable with countless stories and friendships to share. But here, entirely out of reach. And a harsh reminder that I’m not a part of this thing I love anymore. That I’m now an outsider. 

Of course not going is depressing too. So it’s not like I avoided that by not going.

I talk about punk rock and how we made our own world all the time, it’s an important part of my origin story and I apply the lessons and learnings from that to almost everything I do to this day. And there’s no simple narrative here, that world still exists but is also different. We aren’t kids anymore, and a bunch of old guys sitting around talking about their glory days gets obnoxious real quick. Nostalgia has it’s place, but it can’t be everything. You (and I mean me) still need to look ahead, to what is next, not just what came before. I think about this often when I’m playing guitar alone in my bedroom because I’m an almost 50 year old who still does that. But I’m not playing old cover songs, partially because I don’t know how, I’m trying to do something new. And that helps.

I think of myself as a community person, and there are all these communities I used to spend time in, and for one reason or another I don’t anymore. Mostly because I’m no longer physically near them, and I wonder how the next generation of people who grew up with friends online rather than in person will view things kind of thing. I often think about how when asked about why he left the Bujinkan, an old martial arts instructor of mine Charles Daniel replied “Who says I left? Maybe I just graduated.” I don’t know that I agree someone could ever “graduate” but I also liked that way of thinking, he was still doing “stuff” it was just different “stuff” and he brought with him everything he learned up to that point, the old stuff forever informing the new stuff.

So in the end I didn’t do something that I knew I’d enjoy because I knew it would also make me feel bad, and the next day I find myself wishing I had but also knowing why I didn’t. Sometimes everything makes sense, more often it doesn’t.

(Crypto)Punks, Clubs, and Finding Belonging in Unlikely Places

Once upon a time on Twitter:

I was on the road and groggy with cold meds when this conversation happened, so I told my friend Rushkoff I’d get back to him when I was home and rested up. I thought that would be a week or so later. It’s been 2 months and I haven’t stopped thinking about it, in fact I’m still not entirely sure how to answer it. That complexity on its own is kind of interesting so I thought maybe exploring it in public might get a little closer to an answer, or if nothing else relieve my guilt of taking so long to respond.

I think the main question here is “is this replicable?” – that is, could another group look at what is happening in the cryptopunks community and mimic/apply/encourage something, and get similar results. But to answer that we need to answer another much more difficult question first – what is “community?” And that requires accepting that the word “community” has become a completely worthless buzzword in web3 thrown around by marketers who don’t know shit about what community is. Community comes from human relationships and shared experiences and camaraderie and giving a shit about each other. Community is not about profits, floor prices or bag holders. 

So I first need to define what I think about when I think of community, and in thinking about how to do that, I tried to think of other places where I’ve observed or experienced something similar and what those relationships are. At the core, it’s a trusted familiarity that comes when you’ve known someone for a long time, or you’ve been through a difficult situation together. There’s a feeling of being able to depend on each other, and a little bit of understanding who the other person is that doesn’t happen overnight. I have a small group of friends who I’ve known since high school and we all still talk regularly. We’ve taken different paths in life but we know where we all came from, and no matter today’s differences we know we can count on each other. I think in many ways this is the idea of “family” that is so idealistic but is rarely attainable, at least in my experience. We have the family we were given and the family we choose. Or more accurately in today’s global always online world – the families we choose.

As a kid I moved around a lot and never had the chance to build strong bonds with other kids. It wasn’t until high school and finding punk rock that I found people I clicked with and related to. I had a very lonely childhood when I finally found a place where I fit in, I never let it go. Ironically the place where I fit in is legendary for preaching independence, being yourself, and standing up for what you know to be right regardless of what others might think of you. I like to think I’ve taken those ideals to heart. That could seem unrelated, but it’s not. Keep reading.

I’ve written before about this and how it’s certainly driven my lifelong fascination with communities and subcultures and how people relate to each other. So any discussion of what an awesome community is will be informed by those experiences. People are diverse, but the commonality that they share lets them understand something about each other, and this creates a higher level of baseline trust that you’d find in just some random gathering.

This is a kind of intangible idea so it’s hard to quantify, but it manifests in different ways: supporting each other’s businesses and projects is obvious, openly sharing connections and networks is another. Looking out for each other, in public and private. That could mean professional services, or personal advice. It’s something like… “If you need something, I’m here for you.” That seems overly simplified, and maybe it is, but sometimes simple things are the most powerful. 

So how do you get that familiarity? Time. Time is the answer in 99% of situations. Put in the hours, prove yourself, and eventually the people who are still around have built something with each other. And when applying that to a group, when you put that time in is important. In most situations, most communities, you join and then work your way up or earn trust over time. Your cred in the group is tied directly to how long you’ve been there. However even though this is the most common I would argue that this isn’t always ideal. The well worn stereotype of the elder community member trying to squash the actions of the newer member comes directly from this. Sometimes the people who have been there the longest are also the most jaded and critical of anything they didn’t come up with themselves. Lots of ‘get off my lawn’ going in communities with age based seniority.

The other way provides some insulation against this, which is that a potential member has to prove themselves before being able to join. There’s a number of different ways this can happen which I’ll get to in a minute, but the result is attaining membership in the group itself becomes the vetting mechanism, so members can fast track through all the ‘getting to know you’ business and skip right to familiarity and trust with any other member they meet. 

An example of this from pop culture is the scene in Chuck Palahniuk’s “Fight Club,” where Tyler Durden makes wannabe members of Project Mayhem wait outside of the Paper Street house for several days while constantly and repeatedly being insulted and told to go away. The idea being that anyone who wasn’t really committed to the cause would give up and leave, while the ones who remain despite the abuse would eventually be welcomed as family. The (factually questionable) story says this comes from ancient Buddhist traditions where a potential monk’s dedication was tested by forcing them to wait outside of a temple for 3 days before being allowed to enter. Entry isn’t about participation but commitment. The friction ensures that those who join aren’t mere onlookers. And the people on the inside know that the new arrivals are serious.

But this idea exists outside of the realm of fiction, one well known example is the culture of motorcycle clubs. Potential members go through a prospecting phase before receiving their full set of membership patches. During this time, a prospect is both under the protection of the club but subordinate to all members of the club and expected to do anything asked of them, immediately, without question. The severity of this fluctuates wildly depending on the club and the chapter, but in any case this lengthy trust building phase is designed to weed out people who aren’t serious, and ensure that once someone is officially welcomed in any other member can trust them completely the second they meet them just by seeing their patches.

A friend of mine, a full patched member of a well known 1%er club once described the experience simply – “once you’re in, you’re in.” The bond was immediate, and like family. And while the ritual of it all obviously plays a role, at the end of the day it’s not just about the jackets or the bikes; it’s about the shared experiences, the ethos, the passion. This dynamic is echoed, perhaps surprisingly, in niche communities like Cryptopunks. Despite the obvious different stakes, the essence of belonging is strikingly similar. Ask anyone who, after first getting a cryptopunk, was bombarded with welcome messages and a flood of “one of us” gifs in one of the gated chat groups what that felt like.

(As an aside, “one of us” is a reference to the controversial 1932 film FREAKS which, at its core, is a film about a group of people, carnival workers, who built their own community, having been ostracized by mainstream society.)

And yes I recognize the hilarity in drawing parallels between gritty, underground subcultures and a community centered around digital art collecting. And no, I’m not implying that owning a Cryptopunk turns you into a knife wielding badass. But I am highlighting a common dynamic that prioritizes a sense of belonging through shared experiences.

And it’s not just bikers or carnies, for almost 25 years now I’ve practiced an esoteric Japanese martial art which involves training with old, very senior instructors often at their own private dojos or groups. These locations and schedules are not published openly, by design. The only way you get there is by having trained with the right people, built trust and earned rank. So if you are there (and there often is someone’s home), it’s because you know enough to be there – so some level of trust is implied. Again, this isn’t unique. There was a time in various surf/skate/punk cultures where being in the wrong place at the wrong time – a beach, a ramp, a venue – could result in a trip to the hospital. You had to earn the ability to be there, prove yourself in the scene to get access. While these places were technically open to the public, the public was in no way welcome. But for those who had earned the right to avoid harassment, you also knew anyone else there had your back.

I’m belaboring the point here and you may be thinking I’m an idiot drawing this connection because all of these things require time and potentially blood, sweat and tears to earn your way in, but consider this: There are no accidental Cryptopunk owners.

As we approach the end of 2023, if you are holding a Cryptopunk that almost certainly means one of a few  things:

  1. You were very early to all of this, you saw the importance and potential and jumped at it. But even more, you didn’t sell and walk away when these things were going for $150k each. That you are still here means you believe, even with everything that has happened, this is still just the beginning.
  2. You weren’t early enough to get in when these were free, but you understand the importance, and paid the very high price of entry because you didn’t want to miss out.
  3. Or, someone in one of those first two categories believed in you so much that they felt you needed to be in as well, and gave you one (or a big discount on one).

The process may be different but the end result is similar:  If you are here, you are here for a reason – and just the act of being here tells the other members something about you.

And this brings me to another important similarity. Most of these groups – bikers, skaters, punks, (even the fictional Project Mayhem devotees) experienced stigmatization. These people were viewed with suspicion or even disdain by mainstream culture. And we all know that NFT enthusiasts, with their “expensive JPEGs,” face sneers and scorn from skeptics who are still in the vast majority.

Being mocked or stigmatized for your interest can be painful. But at the same time these negative labels, when embraced by a community, become a badge of honor. It’s in the face of external social judgment that the true strength of a community shines. Finding solace among like-minded individuals can be empowering. Keeping this in mind, that FREAKS reference hits even harder.

Another example – the fiercely individualist Church of Satan describes its membership as a “mutual admiration society.” I love this phrasing. It underscores a base level of respect extended to each other automatically, especially poignant in a group that is totally diverse by design. These aren’t mere social clubs; they’re support systems. Strip away the surface differences, you find at the heart of each community the notion of mutual respect. This is huge, especially for people who may not experience that anywhere else. 

And this gets back to one of the “awesome” things I was referring to in my original comment – unlike most interactions today, where disagreements almost immediately devolve into traded insults, communities built on mutual respect facilitate enriching discussions. Intellectual discourse allows people to disagree and still maintain a level of civility. In an increasingly polarized world, the comfort found in these communities becomes ever more attractive. 

Don’t get me wrong – nothing is perfect. Bad actors exist everywhere and no community is immune to extractive leeches. And for sure there are some real goddamn assholes who own cryptopunks – but the high barrier to entry serves as a filter which keeps those to a minimum. Perhaps if you spend $100k to walk in the door, you aren’t likely to want to shit on the carpet. Conversely, if the cost of entry is only $10, there’s a certain kind of person who will happily pay up, then gleefully shit all over the place just to see the reaction.

Also, yes anyone with deep enough pockets could just buy a Cryptopunk tomorrow, but the opaque community structure and confusing web of unconnected chat groups almost requires a guide, some introductions and a bit of social vetting from within the community. It’s not exactly like being invited to a private dojo, an MC clubhouse, or a well protected surf spot – but it’s not entirely different either.

And similarly, there’s not just one thing. Just as Hell’s Angels have a different culture than the Mongols, and an SF chapter will have a different culture than a Venice chapter, just as skaters in New York have a different culture than skaters in Dallas, it would be silly to think all Cryptopunk owners are the same. And the community reflects this – the culture in the Discord is different from the culture in the Telegram group which is different from the culture in a local city group which is different from the culture in a private twitter group. There are subsections and they are drastically different by design, but it’s the commonality that they share which brings them together.freaks

So to find my way back to the original question of whether one needs to own a Cryptopunk to experience a similar community, the answer is as complex as the community itself. Two things I want to call out: Owning a punk doesn’t guarantee the same community experience, and similar experiences can be found in other communities. It’s also important to understand that none of this is static, people are ever changing and their communities with them –  a community today is different from that community yesterday, and tomorrow’s will be different still. 

While all communities have unique structures, I recognize some patterns – bottom up organization, mutual respect among members, and some barriers to entry. Having skin in the game, be it financial or sweat equity, feels important. It’s not explicit, but in a way we are talking about secret societies. Simply owning a punk isn’t an all access pass. The opacity of community channels and social vetting echo characteristics found in more traditional “closed” communities. Can’t ignore the irony there for a community built on a foundation championing indelible openness and transparency.

Cryptopunks aren’t the only multi-gated online community, and any number of other collections, open-source projects and even traditional social groups also offer pathways to similar experiences.  So, while the Cryptopunks community cannot be copied, its core ethos is not unreplicable. As communities continue to evolve in the digital age, perhaps the more important question we should be asking ourselves is not how to get in, but what we, as members or hopefuls, bring to these spaces to make them more meaningful.

ChatGPT Art Critic

My brilliant wife Tara is on the cutting edge of AI developments and sends me things from time to time because I can barely keep up. Today she sent me this, and being an artist who simultaneously loves/hates knowing what anyone thinks of my work, I had to try it immediately. This is the prompt:

Assume the role of a stringent art critic with a discerning eye for quality and technique. Your task is to evaluate artworks with precision, providing scores on a scale from 1 to 10. In this scale, 1 represents art that lacks any technical skill, creativity, or emotional impact, often seen as amateurish or poorly executed. A score of 10 is reserved exclusively for artworks that exhibit exceptional mastery, innovation, and depth, setting new standards in the art world. Be meticulous and honest in your evaluations, consider factors like composition, color harmony, technical skill, originality, and emotional expression in your critiques. Remember, a high score is earned through genuine artistry and profound impact.

I figured I’d start this off with two of my most well known photos, not only because I wanted ChatGPTs approval (I do) but because I’ve heard enough people talk about these images over the years that I thought I’d have a good frame of reference for how GPT was thinking about them. So let’s see:


Composition: The way the artist has captured the bird in mid-flight amidst a busy cityscape is commendable. The blurred background not only accentuates the focus on the bird but also brings out the contrast between nature and urban life. The diagonal flow created by the bird’s trajectory juxtaposed against the bus adds a dynamic feel.

Color Harmony: As this is a black and white photograph, color harmony pertains to the tonal range. There’s a good distribution of blacks, whites, and greys, giving it depth and dimension.

Technical Skill: Capturing motion with clarity while blurring the surroundings requires skill, especially in a bustling environment.

Originality: The idea of capturing nature in urban settings isn’t entirely new, but the execution here is distinctive.

Emotional Expression: There’s a sense of freedom evoked by the bird in flight juxtaposed against the constraining city background. It’s a fleeting moment of nature amidst chaos.

Score: 8/10

Composition: The intimate moment captured between the man and the baby is touching. The woman’s gaze, directed outside the frame, adds an element of mystery and curiosity. The framing places the subjects at the center, inviting the viewer into the personal moment.

Color Harmony: The monochromatic palette brings out the emotional depth of the scene. Shadows and highlights are balanced, ensuring the details of the subjects are not lost.

Technical Skill: The image is sharp where it needs to be, particularly on the subjects. The blurred motion of the subway exterior further accentuates the stillness of the captured moment.

Originality: Candid moments in public transport settings are not uncommon. However, the genuine interaction between the subjects makes this image stand out.

Emotional Expression: The artwork captures a heartwarming and genuine human connection in an otherwise mundane setting. It speaks to the universality of human emotions and interactions.

Score: 8.5/10


I mean… honestly? Not bad.

But again, those are my most well known works for a reason so I had a pretty good idea how that would play out. But what if I gave GPT something more challenging and experimental to evaluate. My new Connections series is personal and challenging and untested in so many ways, so I thought I’d give that a shot. Connections is as much about the concept as it is about the output so I thought I’d just give the final output and see what it thought, and then give additional context and see if that changed anything. This was fascinating…


Description: A black and white photograph capturing the intricate maze of power lines, poles, and barren branches set against a light, almost white sky. The dominant features are the crisscrossing lines, both natural and man-made, which jumble together to create a complex and slightly chaotic pattern.

Composition (3/5): The image offers a layered perspective with power lines at multiple levels, offering a sense of depth. The juxtaposition between the natural lines of the tree branches and the geometric lines of the cables and power structures is interesting, but the focal point is somewhat lost amidst the busy-ness.

Color Harmony (4/5): Although the image is in black and white, the gradation of tones is evident, and the light background helps the darker elements pop. The absence of color serves to highlight the intricacies of the lines.

Technical Skill (3.5/5): The image is well-balanced in terms of light and dark areas. The contrast is clear, but some portions seem to blend into one another due to the dense layout of lines.

Originality (3.5/5): The theme of man vs. nature is not new, but the portrayal here is somewhat fresh. The chaos formed by human-made structures and nature intertwining is a silent commentary on urban encroachment.

Emotional Expression (2/5): While the image does convey a sense of chaos and possibly the encroachment of urban structures on nature, it lacks a strong emotional impact. It’s more reflective than evocative.

Overall Score: 6.5/10

Comments: This photograph succeeds in capturing the complexities of an urban landscape, juxtaposing man-made structures with natural elements. The interplay of lines, both organic and geometric, create a maze-like visual that is both intriguing and slightly overwhelming. While it is a competent representation of its theme, it lacks a definitive focal point or strong emotional resonance.


Then I pointed GPT to my explanation of the series and concept behind it, and asked it to evaluate the work again with that additional context. Kind of like asking it to read the plaque on the wall in the gallery.


Description: “Connections” is a series that delves into the intricate associations between nature, humans, and technology. The artwork fuses the organic with the artificial, compelling the viewer to reflect on the intricate mesh of relationships, dialogue, and interplay between humans and their surroundings. Derived from Bonner’s authentic photographs, the creation process itself challenges our understanding of reality, questioning the boundaries between human creativity and artificial intelligence. The artwork inspires contemplation on the delicate balance between inspiration and direction, as well as the fine line differentiating reality from an AI’s artistic perception.

Composition (4/5): With the added context, the intertwining lines of nature and man-made structures take on deeper meaning, symbolizing the fusion of organic and synthetic elements. The complexity of the piece can now be seen as a reflection of the intricate web of connections in our world.

Color Harmony (4.5/5): The monochromatic palette reinforces the theme of merging realities – the human and AI perspectives. The use of varying tones of black and white signifies the subtle nuances in these connections.

Technical Skill (4/5): Knowing that this piece is an AI interpretation based on original photographs adds another layer of appreciation for the technical execution. It showcases the potential of AI in artistic expression and its ability to recreate reality.

Originality (4.5/5): The concept of exploring connections is given a fresh take with the amalgamation of human and AI creativity. The choice to make it initially available only in person at select events further emphasizes the value of genuine human connections in a digital age.

Emotional Expression (4/5): The image now carries more emotional depth. Knowing the backstory and intention, viewers are not only intrigued by the visual complexity but also by the underlying themes of human-machine collaboration and interconnectedness.

Overall Score: 8.5/10

Comments: With the added context, “Connections” by Sean Bonner transcends its initial visual impression. It stands as a testament to the potential harmony between nature, human ingenuity, and machine intelligence. The series, starting with this piece, offers a thought-provoking commentary on the evolving relationship between man and technology, urging viewers to reflect on the true nature of connection in an increasingly digital world. The piece’s exclusivity and method of distribution further reinforce its themes, making it not just an artwork, but an experience.


So this was a pretty fascinating experiment. I genuinely enjoyed seeing how GPT saw my work. One thing Tara is always telling me is how she works with GPT to improve her prompts before using them. So rather than saying “please help me do this” she’ll say “please pretend you are a GPT prompt writer who needs to get X done, and help me write the prompt to get the best result for that” and goes back and forth several times before landing on the prompt she’ll actually use for the main request. I thought I’d ask GPT to consider the initial prompt I used here, and see if it would benefit from a revision. GPT said the prompt was quite good already, but if I wanted more thoughtful and detailed criticism I could edit it a bit to solicit that. I didn’t go back and redo the evaluations with the new prompt, but thought I’d add it here on the end just in case anyone wanted to try it out themselves on their own work.

New revised prompt:

Hello. Assume the role of an exacting art critic with an acute sense for detail and a passion for thorough analysis. Your mandate is to dissect artworks meticulously, providing scores on a scale from 1 to 10. On this scale, a score of 1 is given to art that is devoid of technical prowess, originality, or emotional resonance—often seen as rudimentary or lacking in execution. Conversely, a score of 10 is reserved for artworks that are paragons of technical mastery, creativity, and depth, truly revolutionizing the artistic landscape.

Your evaluations should be systematic and uncompromising. When evaluating artworks, adhere to the following format:

  • Contextual Understanding: (If provided) What narrative or background information is given about the artwork? How does this influence your interpretation?
  • Composition: How are the elements arranged in the piece? Does it guide the viewer’s eye? Is there a balance or intentional imbalance?
  • Color Harmony: Is there an effective use of color or lack thereof? How do the colors interact with each other, and what mood do they convey?
  • Technical Skill: Beyond the basic execution, is there evidence of advanced techniques or a particularly deft touch?
  • Originality: How fresh or innovative is the artwork? Does it bring a unique perspective or technique to the table?
  • Emotional Expression: What feelings or messages does the artwork convey? How effectively are they communicated to the viewer?
  • Overall Score: Based on the detailed analysis above, assign an aggregate score out of 10.

Always remember, while scores are numerical, the essence of art is found in its subtleties and nuances. Delve deep, appreciate the intricacies, and be forthright in your assessments.

Please commence your evaluation of the following artworks.

Intentional Communities

When thinking about community, I always stress the value of intentionality. Often people first think of rules and what they don’t want in their community because that’s easy, but I always try to encourage moderators and community managers to reframe that and instead try to identify what they do what. Try to describe the community that you want, that you want to hang out in, by what it is, not what it isn’t. Try to write every point as a positive not a negative. It’s actually harder than you think to do this, but I believe it makes a powerful statement and attracts people who want the same thing as you as well as helping you fine tune your own intentions.

Two guiding documents I helped write that I’m really proud of are the Safecast Code and the Cryptopunks V1 Discord server etiquette.

For Safecast, the environmental non-profit I helped start in 2011, we wanted something for our volunteer community to act as our guiding principals, so in 2014 we published this:

We’ve been thinking about what describes the Safecast project as a whole, and came up with a list of 10 things that we try to incorporate into all of our efforts. This is something like our code of conduct, what are we doing, what we should be doing. We try to check ourselves against this list and encourage others to do the same.

  1. ALWAYS OPEN – We strive to make everything we do transparent, public and accessible.
  2. ALWAYS IMPROVING -We can always do better so use agile, iterative design to ensure we’re always refining our work.
  3. ALWAYS ENCOURAGING – We aim to be welcoming and inclusive, and push each other to keep trying.
  4. ALWAYS PUBLISHING – Results are useless behind closed doors, we try to put everything we’re doing out to the world regularly.
  5. ALWAYS QUESTIONING – We don’t have all the answers, and encourage continued learning and critical thinking.
  6. ALWAYS UNCOMPROMISING – Our commitment to our goals keeps us moving closer towards them.
  7. ALWAYS ON – Safecast doesn’t sleep. We’re aware and working somewhere around the world 24/7
  8. ALWAYS CREATING – Our mission doesn’t have a completion date, we can always do more tomorrow.
  9. ALWAYS OBJECTIVE – Politics skews perception, we focus on the data and the questions it presents.
  10. ALWAYS INDEPENDENT – This speaks for itself.

I’ve written before about the overuse and redundancy of Discord servers in the web3 space so with for the Cryptopunks V1 Discord I asked that we think of what didn’t already exist, but that we wanted to exist, and explicitly try to create that. I’m proud of these guidelines and think they’ve helped shape a friendly and welcoming community.

  1. We are inclusionary and you’re welcome here. No matter what you look like, where you come from, what you have or your beliefs; you’ll be treated with respect.
  2. We are here to have fun but not at the expense of others.
  3. We celebrate CryptoPunks and Web3 Punk culture in its entirety. We recognise the visionary of our creators, LarvaLabs; the current owners of the brand, Yuga Labs; and all of the wonderful Punk derivatives. We reject repeated, intentionally divisive or derogatory comments towards any in the Punk ecosystem.
  4. We show respect and positivity because we want to be respected by the wider community.
  5. We share our interests, achievements and current projects without incessant shilling. In general, if you’re repeatedly bringing up a particular topic without prompt, that could be considered shilling.
  6. We’re all at different stages of our journey and continuously learning. Teach others about your experiences, learn from others about theirs. All questions are good questions and our chat is an open forum.
  7. We recommend you turn off DMs and be extremely careful in the interactions you have here. Phishing, impersonation and all manner of trickery are persistent threats.
  8. If you post a suspicious link, NSFW/NSFL content our mods might act to ban or mute you immediately. If in doubt about whether something is acceptable, it’s better not to post.
  9. Mods are here to clear away bad actors and facilitate positive discussion. If a mod asks for a discussion to move on, or to an alternate channel, or reminds you of these guidelines; please heed their advice.
  10. We Punks are ultimately the moderators of our peers. If you see something that isn’t constructive to the community we’re building, say something.

While I’m not trying to suggest these are perfect or pat myself on the back too much, I think these are two really good examples of directional documents that can help a community shape itself rather than just leaving things up to chance. If you are a community steward, manager, curator or janitor I can’t recommend doing something like this enough.

The End of Social Media

Social Media is on the decline. Not just any one site but all of it. The entire idea. Traffic everywhere is down. What we once saw as a way to stay connected to our friends became a tool to be used against us. By advertisers after our attention, by politicians pushing their propaganda. Any passing thought potentially turned into ammo for haters years down the line, influencers and thought leaders trying to lead and influence our thoughts. People getting fired for likes and retweets, or executed for daring to speak out. It’s no surprise that these sites are less appealing than they once were. But where are people going instead? Private chats, direct messages, curated groups and gated discords. Back to our friends, away from everyone else.

Some of you might remember the running joke on Twitter circa 2009 where anytime anything bad happened we’d explain it by saying “Brands.” Why was the price of gas going up? Brands. Why weren’t my friends seeing my tweets? Brands. Why did the radio keep playing this song I hate? Brands. You get the idea. Thats about the time the site shifted from being a place to talk to your friends to being a place for brands to sell you things. Social media was exciting when it was a place to learn the news from locals talking about their own experiences, but that was quickly taken over by major media who wanted to capitalize on the attention. “That’s where people are, so that’s where we’ll go!” At one point I was arguing “we don’t need to say social media anymore because at this point all media is social” though at the time I thought that was a good thing, I thought that was a sign of news outlets giving in to our way of working, but it was actually them co-opting it for themselves.

At some people people started writing safety protocols for the younger generation signing up for the sites filled with thoughtful precautions none of us had ever taken ourselves. It took almost 20 years, but our worst fears all came true. I talked to my son about this and he bluntly said there’s nothing appealing about any of these sites, it’s just people trying to push shit on him and he doesn’t see any reason to ever spend time there. No one sees his posts anyway. He’d much rather hang out in a voice chat with a few of his friends. Thinking back to my own childhood and how much time I spent on the phone and how exciting 3-way calling was and even the introduction of Party Lines (though I was never allowed to try them) I can’t really argue with his logic. 

The thing that made the internet so exciting, the chance to connect with other people, has been turned into endless commercials and non-stop surveillance. That’s what we were trying to get away from in the first place. Writing this I don’t know why I still spend any time there either. If the algorithms don’t even let me see posts from my friends who I intentionally follow, what’s the point? Maybe I just want to see how it all ends.

I do find myself getting much more out of the private telegram groups and gated discord channels. Secret societies without all the pomp and theater, (not that there’s anything wrong with the pomp and theater) just people with shared interests connecting and hanging out. In a way, it’s what we wanted from Social Media in the beginning, but could never be done correctly by a company. We just needed a protocol that worked, a way to connect A to B without a need to jack up user numbers or meet profitability goals. Let Zuck and Elon and all those other fucks have the castles they built. They’ve become useless to us and we’re moving out.

I write that knowing it comes across with all the earnestness of a 7 year old storming into the kitchen and informing his parents that he’s packed up his favorite toys and is running away because he can no longer live under the oppression of their mandated bedtime. But I’m not pounding my chest acting like we’ll go build our own site and show them! I’m just saying that for most of human history people were able to communicate with their friends directly and it worked out pretty well, and for the last couple decades we tried letting companies be the intermediary to those relationships and it was a disaster, so we can just go back to talking to each other directly. Those sites need us, but we don’t need them. Sure there’s an entire generation or two that don’t know how to communicate without Facebook but the algo will get them too, or red pill them or whatever else causes their families to stop talking to them and they will have to pick up a phone. The change won’t be overnight, but it’s inevitable. RIP social media. You had your moment, and it was fleeting af.