An Old Man Tries Snapchat

If you have even a passing interest in social media and haven’t seen Casey Neistat’s video on how “Snapchat Murders Facebook”, you should.

Like my friend Vicki notes in this post, Snapchat wasn’t something that I immediately saw any value in. I installed it once ages ago, didn’t have any friends on it (a combination of age and geography), and promptly left. Then Instagram’s Bolt soft-launched in Singapore and got some interest going around ephemeral photo messaging, but it still isn’t something that friends in their 30s seem to want.

We’re a generation of digital hoarders; the people who abandoned other providers for Gmail en masse because it promised never having to delete an email again. Cleaning out my harddrive the other day, I found a folder of interesting photos I’d saved off the net in the early 2000s: movie posters, album cover art, photos of global landmarks, and the like, simply because the sight of them were scarce and valuable pre-internet! You have to imagine what it was like to live in that time. I ended up deleting almost all of them because these days, if you can put a name to it, you can find it online.

So behavior is changing slowly amongst older people, and much faster amongst those in their teens, but photo messaging still wasn’t something I needed Snapchat for. Every messaging app offers it now. The ephemeral twist is a footnote.

Snapchat’s Stories feature changed the way I look at the product. It turns it into something of a lifelogging and broadcast platform. I can’t name another app (still) on the market that lets you grab video snippets of your life, and share them in a stream that your friends can tune in to. The fact that clips disappear after 24 hours is actually the part I like LEAST. It seems Vicki’s with me on this, as she’s set up a YouTube channel to archive these Stories to after they’ve been erased. I may soon do the same1.

There are some other nascent thoughts I have on Snapchat’s bizarre UX; the more I think about it, the more brilliant it is — breaking many of the rules we use to design interfaces for users of all ages, in order to create an exclusive, obtuse, game-like experience (inviting the spreading of knowledge by word of mouth) that seems intended to make it a success with a younger crowd. I may be wrong, and it may simply be like this as a result of being designed by a younger team. Additionally, its overall visual clumsiness (check out that ghost icon) encourages you NOT to take it seriously, which makes it totally okay to fire off imperfect, portrait-oriented, poorly-shot, but authentic moments without too much thought.

If you’d like to follow me, I’m on there as “sangsara”.


  1. Sharing these vertical videos on another platform poses a slight challenge. I tried every video editing app on my iPhone, and just about all of them failed to stitch the short clips together without cropping, unexpectedly rotating, or distorting the videos. Even Apple’s own iMovie produced only a black screen with audio playing, probably because Snapchat’s video encoding/metadata in non-standard in some way. Amusingly, the app that finally managed to do the job perfectly was YouTube’s own Capture app

➟ How Netflix Reverse Engineered Hollywood

Alexis Madrigal, for The Atlantic:

What emerged from the work is this conclusion: Netflix has meticulously analyzed and tagged every movie and TV show imaginable. They possess a stockpile of data about Hollywood entertainment that is absolutely unprecedented.

Using large teams of people specially trained to watch movies, Netflix deconstructed Hollywood. They paid people to watch films and tag them with all kinds of metadata. This process is so sophisticated and precise that taggers receive a 36-page training document that teaches them how to rate movies on their sexually suggestive content, goriness, romance levels, and even narrative elements like plot conclusiveness.

The data can’t tell them how to make a TV show, but it can tell them what they should be making. When they create a show like House of Cards, they aren’t guessing at what people want.

What a huge undertaking, and a demonstration of Amazon-like patience for a company like Netflix—slowly, quietly, build a long-view competitive advantage in technology and process that becomes impossible for others to copy, and that eventually enables a whole new range of products that are themselves hard to compete with.

This sort of rich metadata is what I’d expect IMDB to have, but a categorization exercise of so much subjective material benefits from the guidance of a single hand, while self-policing committees take much too long.

Tricks & Cider

About two weeks ago, I kinda realized that two people I knew online were in a band together, and preparing to put out their first EP. I visited their website, bought the record when it came out, and ended up seeing them live at the Esplanade last Friday. Hear for yourself through the embedded player below.

In addition to Bandcamp, you can get the 5-song collection on iTunes and Spotify.

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At the Esplanade Outdoor Theater

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Lunchtime concert on Raffles Green
Link

➟ Brian Regan: The Epitome of Hyperbole [Netflix]

➟ Brian Regan: The Epitome of Hyperbole [Netflix]

Really great, profanity-free stand-up comedy. He brings a lot more energy to the stage than Jim Gaffigan, whose shows we also watched a couple of nights ago. They’re both great acts and worth looking up, but Regan’s older material is rock solid, while you can jump straight to Gaffigan’s newer stuff and not miss much.

➟ Cee-Lo’s "Fuck You"

This super-catchy song by Cee-Lo Green of Gnarls Barkley fame is this year’s “Hey Ya”, mark my words. You’re going to hear it sung out of car windows, college dorms, dive bars, and there’s nothing feeble attempts at radio censorship can do about it. For everyone under 20 right now, YouTube IS radio.