fruitybish

[fruitybish]

rewatching the moment and oh my god. phil sees tallulah and smiles. "hey tallulah! what are you doing here, i told you not to come here." she jumps around. shakes her maracas. phil asks her again what she's doing here. she doesn't respond. his smile freezes.

[fruitybish]

BLOOD FOR THE BLOOD GOD

[fruitybish]

[fruitybish]

this house may or may not be real

on grayness in real estate

Allegedly, somewhere in Wake Forest, North Carolina, a 4 bed, 5.5 bathroom house totaling more than 6,600 square feet is for sale at a price of 2.37 million dollars. The house, allegedly, was built in 2021. Allegedly, it looks like this:

A McMansion is, in effect, the same house over and over again - it's merely dressed up in different costumes. In the 90s, the costume was Colonial; in the 2000s, it was vague forms of European (Tuscan, Mediterranean), and in the 2010s it was Tudor, dovetailed by "the farmhouse" -- a kind of Yeti Cooler simulacra of rural America peddled to the populace by Toll Brothers and HGTV.

Now, we're fully in the era of whatever this is. Whitewashed, quasi-modern, vaguely farmhouse-esque, definitely McMansion. We have reached, in a way, peak color and formal neutrality to the point where even the concept of style has no teeth. At a certain moment in its life cycle, styles in vernacular architecture reach their apex, after which they seem excessively oversaturated and ubiquitous. Soon, it's time to move on. After all, no one builds houses that look like this anymore:

(This is almost a shame because at least this house is mildly interesting.)

If we return to the basic form of both houses, they are essentially the same: a central foyer, a disguised oversized garage, and an overly complex assemblage of masses, windows, and rooflines. No one can rightfully claim that we no longer live in the age of the McMansion. The McMansion has instead simply become more charmless and dull.

When HGTV and the Gaineses premiered Fixer Upper in 2013, it seemed almost harmless. Attractive couple flips houses. Classic show form. However, Fixer Upper has since (in)famously ballooned into its own media network, a product line I'm confronted with every time I go to Target, and a general 2010s cultural hallmark not unlike the 1976 American Bicentennial - both events after which every house and its furnishings were somehow created in its image. (The patriotism, aesthetic and cultural conservatism of both are not lost on me.)

But there's one catch: Fixer Upper is over, and after the Gaineses, HGTV hasn't quite figured out where to go stylistically. With all those advertisers, partners, and eyeballs, the pressure to keep one foot stuck in the rural tweeness that sold extremely well was great. At the same time, the network (and the rest of the vernacular design media) couldn't risk wearing out its welcome. The answer came in a mix of rehashed, overly neutral modernism -- with a few pops of color, yet this part often seems omitted from its imitators -- with the prevailing "farmhouse modern" of Magnolia™ stock. The unfortunate result: mega-ultra-greige.

Aside from war-mongering, rarely does the media manufacture consent like it does in terms of interior design. People often ask me: Why is everything so gray? How did we get here? The answer is because it is profitable. Why is it profitable? I'd like to hypothesize several reasons. The first is as I mentioned: today's total neutrality is an organic outgrowth of a previous but slightly different style, "farmhouse modern," that mixed the starkness of the vernacular farmhouse with the soft-pastel Pinterest-era rural signifiers that have for the last ten years become ubiquitous.

Second, neutrals have always been common and popular. It's the default choice if you don't have a vision for what you want to do in a space. In the 2000s, the neutrals du jour were "earth tones" - beige, sage green, brown. Before that, it was white walls with oak trim in the 80s and 90s. In the 70s, neutrals were textural: brick and wood paneling. We have remarkably short memories when it comes to stylistic evolution because in real time it feels incremental. Such is the case with neutrals.

Finally, the all-gray palette is the end logic of HGTV et al's gamified methodology of designing houses with commodification in mind: if you blow out this wall, use this color, this flooring, this cabinetry, the asking price of your house goes up. You never want to personalize too much because it's off-putting to potential buyers. After twenty years of such rhetoric, doesn't it make all the sense in the world that we've ended up with houses that are empty, soulless, and gray?

A common realtor adage is to stage the house so that potential buyers can picture their own lives in it. In other words, create a tabula rasa one can project a fantasy of consumption onto. Implied in that logic is that the buyer will then impose their will on the house. But when the staged-realtor-vision and general-mass-market aesthetic of the time merge into a single dull slurry, we get a form of ultra-neutral that seems unwelcoming if not inescapable.

To impose one's style on the perfect starkness is almost intimidating, as though one is fouling up something untouchable and superior. If neutrality makes a house sell, then personality - at all - can only be seen as a detriment. Where does such an anti-social practice lead us? Back to the house that may or may not exist.

In my travels as McMansion Hell, I've increasingly been confronted with houses full of furniture that isn't real. This is known as virtual staging and it is to house staging as ChatGPT is to press release writing or DALL-E is to illustration. As this technology improves, fake sofa tables are becoming more and more difficult to discern from the real thing. I'm still not entirely sure which of the things in these photos are genuine or rendered. To walk through this house is to question reality.

Staging ultimately pretends (sometimes successfully, sometimes not) that someone is living in this house, that you, too could live in it. Once discovered, virtual staging erases all pretensions: the house is inhabited by no one. It is generally acknowledged (though I'm not sure on the actual statistics) that a house with furniture - that is, with the pretense of living -- sells easier than a house with nothing in it, especially if that house (like this one) has almost no internal walls. Hence the goal is to make the virtual staging undiscoverable.

If you want to talk about the realtor's tabula rasa, this is its final form. Houses without people, without human involvement whatsoever.

But what makes this particular house so uncanny is that all of these things I've mentioned before: real estate listing photography, completely dull interiors and bland colors all make it easy for the virtual furniture to work so well. This is because the softness of overlit white and gray walls enables the fuzzy edges of the renderings to look natural when mixed with an overstylized reality. Even if you notice something's off in the reflections, that's enough to cause one to wonder if anything in the house is real: the floors, the fixtures, the moulding, the windows and doors.

This is where things are heading: artifice on top of artifice on top of artifice. It's cheap, it's easy. But something about it feels like a violation. When one endeavors to buy a house, one assumes what one is viewing is real. It's one thing if a realtor photoshops a goofy sunset, it's another to wonder if anything in a room can be touched with human hands. I won't know what, if any, part of this estate costing over 2 million dollars actually exists until I visit it myself. Perhaps that's the whole point - to entice potential buyers out to see for themselves. When they enter, they'll find the truth: a vast, empty space with nothing in it.

The better this rendering technology gets, the more it will rely on these totally neutral spaces because everything matches and nothing is difficult. You are picking from a catalog of greige furniture to decorate greige rooms. If you look at virtual staging in a non-neutral house it looks immediately plastic and out of place, which is why many realtors opt to either still stage using furniture or leave the place empty.

Due to the aforementioned photography reasons, I would even argue that the greigepocalypse or whatever you want to call it and virtual staging have evolved simultaneously and mutualistically. The more virtual staging becomes an industry standard, the more conditions for making it seamless and successful will become standardized as well.

After all, real staging is expensive and depends on paid labor - selecting furniture, getting workers to deliver and stage it, only to pack it back up again once the property is sold. This is a classic example of technology being used to erase entire industries. Is this a bad thing? For freelance and contract workers, yeah. For realtors? no. For real estate listings, it remains to be seen. For this blog? Absolutely. (Thankfully there is an endless supply of previously existing McMansions.)

The thing is, real estate listings no longer reflect reality. (Did they ever to begin with?) The reason we're all exasperated with greige is because none of us actually live that way and don't want to. I've never been to anyone's house that looks like the house that may or may not exist. Even my parents who have followed the trends after becoming empty nesters have plenty of color in their house. Humans like color. Most of us have lots of warmth and creativity in our houses. Compare media intended for renters and younger consumers such as Apartment Therapy with HGTV and you will find a stark difference in palate and tone.

But when it comes to actually existing houses - look at Zillow and it's greige greige greige. So who's doing this? The answer is real estate itself aided by their allies in mass media who in turn are aided by the home renovation industry. In other words, it's the people who sell home as a commodity. That desire to sell has for some time overpowered all other elements that make up a home or an apartment's interiority to the point where we've ended up in a colorless slurry of real and unreal.

Fortunately, after ten years or so, things begin to become dated. We're hitting the ten year mark of farmhouse modernism and its derivatives now. If you're getting sick of it, it's normal. The whole style is hopefully on its last leg. But unlike styles of the past, there's a real, trenchant material reason why this one is sticking around longer than usual.

Hence, maybe if we want the end of greige, we're going to have to take color back by force.

If you like this post and want more like it, support McMansion Hell on Patreon for as little as $1/month for access to great bonus content including extra posts and livestreams.

Not into recurring payments? Try the tip jar, because media work is especially recession-vulnerable.

[fruitybish]

mxriyum_

[fruitybish]

Strawberry Jam Crumble Bars

[fruitybish]

Okay fuck it if this post reaches 666k notes by the end of 2023 I'll practise basic self care

Why 666k? Because it's funny and impossible so good fucking luck

[fruitybish]

Love how tumblr has its own folk stories. Yeah the God of Arepo we’ve all heard the story and we all still cry about it. Yeah that one about the woman locked up for centuries finally getting free. That one about the witch who would marry anyone who could get her house key from her cat and it’s revealed she IS the cat after the narrator befriends the cat.

[fruitybish]

If y'all liked the unidentifiable yellow glitter goo you'll love the time I made wine out of marshmallow Peeps

[fruitybish]

“After learning my flight was detained 4 hours, I heard the announcement: if anyone in the vicinity of gate 4-A understands any Arabic, please come to the gate immediately. Well—one pauses these days. Gate 4-A was my own gate. I went there. An older woman in full traditional Palestinian dress, just like my grandma wore, was crumpled to the floor, wailing loudly. Help, said the flight service person. Talk to her. What is her problem? We told her the flight was going to be four hours late and she did this. I put my arm around her and spoke to her haltingly. Shu dow-a, shu-biduck habibti, stani stani schway, min fadlick, sho bit se-wee? The minute she heard any words she knew—however poorly used—she stopped crying. She thought our flight had been canceled entirely. She needed to be in El Paso for some major medical treatment the following day. I said no, no, we’re fine, you’ll get there, just late. Who is picking you up? Let’s call him and tell him. We called her son and I spoke with him in English. I told him I would stay with his mother until we got on the plane and would ride next to her—Southwest. She talked to him. Then we called her other sons just for the fun of it. Then we called my dad and he and she spoke for a while in Arabic and found out, of course, they had ten shared friends. Then I thought just for the heck of it why not call some Palestinian poets I know and let them chat with her. This all took up about 2 hours. She was laughing a lot by then. Telling about her life. Answering questions. She had pulled a sack of homemade mamool cookies—little powdered sugar crumbly mounds stuffed with dates and nuts—out of her bag—and was offering them to all the women at the gate. To my amazement, not a single woman declined one. It was like a sacrament. The traveler from Argentina, the traveler from California, the lovely woman from Laredo—we were all covered with the same powdered sugar. And smiling. There are no better cookies. And then the airline broke out the free beverages from huge coolers—non-alcoholic—and the two little girls from our flight, one African American, one Mexican American—ran around serving us all apple juice and lemonade, and they were covered with powdered sugar, too. And I noticed my new best friend—by now we were holding hands—had a potted plant poking out of her bag, some medicinal thing with green furry leaves. Such an old country traveling tradition. Always carry a plant. Always stay rooted to somewhere. And I looked around that gate of late and weary ones and thought, this is the world I want to live in. The shared world. Not a single person in this gate—once the crying of confusion stopped—has seemed apprehensive about any other person. They took the cookies. I wanted to hug all those other women, too. This can still happen anywhere. Not everything is lost.”

— Naomi Shihab Nye (b. 1952), “Wandering Around an Albuquerque Airport Terminal.”

[fruitybish]

John Brosio (American, b. 1967)

The Night hunt, 2013

Oil On Canvas

[fruitybish]

Some regular bird feeder visitors :-)

[ID: an illustration of various songbird species, bird-watching equipment including a camera and binoculars, and various plants against a teal background. End.]

[fruitybish]

Scenes from a self-serve farm by my grandparents’ house in Nova Scotia

[fruitybish]

I’m Live! Our Final Chapter? Opening Wilbur’s Book. [Dream SMP LORE] https://www.twitch.tv/eret

[fruitybish]

I saw the new trailer for bee and puppycat and I made this lil guy.

[fruitybish]

Please let them be happy.

[fruitybish]

Prof Earl Miller, a neuroscientist at Massachusetts Institute of Technology, explained one to me. He said “your brain can only produce one or two thoughts” in your conscious mind at once. That’s it. “We’re very, very single-minded.” We have “very limited cognitive capacity”. But we have fallen for an enormous delusion. The average teenager now believes they can follow six forms of media at the same time. When neuroscientists studied this, they found that when people believe they are doing several things at once, they are actually juggling. “They’re switching back and forth. They don’t notice the switching because their brain sort of papers it over to give a seamless experience of consciousness, but what they’re actually doing is switching and reconfiguring their brain moment-to-moment, task-to-task – [and] that comes with a cost.” Imagine, say, you are doing your tax return, and you receive a text, and you look at it – it’s only a glance, taking three seconds – and then you go back to your tax return. In that moment, “your brain has to reconfigure, when it goes from one task to another”, he said. You have to remember what you were doing before, and you have to remember what you thought about it. When this happens, the evidence shows that “your performance drops. You’re slower. All as a result of the switching.”

This is called the “switch-cost effect”. It means that if you check your texts while trying to work, you aren’t only losing the little bursts of time you spend looking at the texts themselves – you are also losing the time it takes to refocus afterwards, which turns out to be a huge amount. For example, one study at the Carnegie Mellon University’s human computer interaction lab took 136 students and got them to sit a test. Some of them had to have their phones switched off, and others had their phones on and received intermittent text messages. The students who received messages performed, on average, 20% worse. It seems to me that almost all of us are currently losing that 20% of our brainpower, almost all the time. Miller told me that as a result we now live in “a perfect storm of cognitive degradation”.