This is the best summary I could come up with:

Inevitably, I could quickly identify a cafe among the search results that had the requisite qualities: plentiful daylight through large storefront windows; industrial-size wood tables for accessible seating; a bright interior with walls painted white or covered in subway tiles; and wifi available for writing or procrastinating.

Accoutrements such as lights made from rusty plumbing fixtures were left behind in favour of houseplants (succulents especially) and highly textured fibre art, evoking west coast bohemia more than hardscrabble New York City.

You can ease into that space because it’s such a familiar space.” The homogeneity contrasted with the overall hipster philosophy of the 2010s, namely, that by consuming certain products and cultural artefacts you could proclaim your own uniqueness apart from the mainstream crowd – in this case a particular coffee shop rather than an obscure band or clothing brand.

It required money and a certain fluency for someone to be comfortable with the characteristic act of plunking down a laptop on one of the generic cafes’ broad tables and sitting there for hours, akin to learning the unspoken etiquette of a cocktail bar in a luxury hotel.

“Everything else is damage control.” We talk about politics, culture and travel becoming globalised, but on a more fundamental level, Spivak is correct that what really flows across the planet are various forms of money and information: investments, corporations, infrastructure, server farms and the combined data of all the digital platforms, sluicing invisibly like wind or ocean currents between nations.

Pursuing Instagrammability is a trap: the fast growth that comes with adopting a recognisable template, whether for a physical space or purely digital content, gives way to the daily grind of keeping up posts and figuring out the latest twists of the algorithm – which hashtags, memes or formats need to be followed.

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