046 - my journey with vibecoding and agentic ai

02 Jun, 2026

part 1

check out these sponsored links. watch the same three videos on repeat in a loop. this album seems like your favourite, why not listen to it again. here are some things we think you might like. crawl through life clawing out dopamine in 30-second scraps. don't let yourself get bored, don't let yourself get hurt. there's no point in keeping yourself at anything other than the barest baseline.

don't you feel like it's all just the same shit, over and over again these days? yeah, then why do you still trouble yourself with the effort of having to pick a particular author? i generate all my music, my shortform video, my friends and relationships with chatgpt these days. it's so easy, i only need one subscription now, and it's so convenient in ways i couldn't even imagine. my ai agent / servant / best friend / sexual partner recognised the other day that i get really stressed out when i have to cook myself meals, so it decided to just order a crate of soylent to my house every month! it's not perfect, the amazon guy looked like he was in a bit of a rush and he couldn't find my apartment, but still, it's so much easier than it was.

david lynch said something once, about the popularisation of television removing any differences in the culture between small american towns. i love this, but i still feel like there's too much soul in television network executives. i'm glad that it's all machine run now.

aside - on vibecoders

i don’t really care to have strong opinions on the practice as a whole frankly (i have better things to do with my time, like going outside or talking to women), but it’s really funny to me that people are trying to claim the oldskool hacker ethos or whatever while they’re literally suckling at the teat of openai or whoever the fuck else for their tokens. “oh but but but what about my four thousand dollar macbook i can run my local models on it” yeah idiot you’re still dependent on whoever trained them. look in the fucking mirror.

part 2

THESIS

1. all art is about either FOOD, SEX, or KILLING YOURSELF
   1. still visual arts are some combination of satisfying to the eye (food) and intriguing (killing yourself)
   2. the moving picture is the above, but can also be satisfying in motion (moment to moment - sex)
   3. video games are often divided into two categories - menus (choice, consequence, planning - killing yourself) and parkour (small challenges, immediate feedback - sex)
   4. oddly enough the act of cooking food is sexual, similar to how the act of operating menus is frequently a parkour activity

ANTITHESIS

i read an article on, like, i think it was the new yorker the other day. well i mean i didn’t really read it, but i read the title, and im pretty media literate, yknow, so i think i basically got the point. anyway i dont really remember what it was called but it was something about like, it was against the alleged scourge of bushwickian noise musicians making redditcore wankerslop or whatever the kids are calling it these days and - like is that a transphobic dogwhistle? is there an annoying white guy noise music scene or is it all us? - anyway and basically i don’t think it really had a point besides that, it just wanted to kvetch about this supposed plague by means of accusing everyone that made or listened to noise music as just doing it for clout or whatever, which again makes me wonder if it’s all just a dogwhistle but that’s besides the point now, and i mean like, i did start listening to geese before it was cool after i misclicked in soulseek one time so i think im safe on that one, and my taste for noise mostly ends at merzbow’s collabs, never really his solo stuff, but still, i wonder if you can be opped into liking something. i wonder what that means. if this is a crime, who is the victim? is your enjoyment of a band suddenly fake because you just went to the show to pick up pre-op 8 month hrt no voice training girls?

synthesis

i think often about the regrettable sex i had as a teenager.

part 3

Jean Baudrillard's most unsettling idea is that reality doesn't die in a revolution.

It dies by being replaced.

A copy reflects reality.

Then it distorts reality.

Then it replaces reality.

Then it forgets reality ever existed.

That's Baudrillard's theory of the simulacrum.

We don't just consume representations of the world anymore—we live inside them. The image becomes more real than the thing itself. The performance becomes more important than the person. The map expands until it covers the territory.

Think about celebrity culture. Political spectacle. Advertising. Social media. Increasingly, what matters is not what something is, but how it appears. The representation takes on a life of its own, shaping the reality it once merely described.

For Plato, the danger was mistaking a copy for the original.

For Baudrillard, the copy has already won.

The simulation no longer points to reality—it produces reality. We navigate a world of brands, images, narratives, and symbols that feel more tangible than the things behind them, if there are things behind them at all.

The copy stopped being a copy.

And nobody noticed.

By the time we went looking for the original, all we could find were more copies.