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CN Chris Noessel On Power of Ten with Andy Polaine

“Once you get to AI, the types of skills that you risk losing by constantly asking it to assist you are the cognitive skills. Skepticism. Even inquiry, structuring a mental map in order to pursue the answer to a question. Losing skills in those things means that we are losing the ability to contain the thing that threatens us, which is the AI that's threatening the de-skilling.”

Power of Ten with Andy Polaine · User Experience · November 2026

“Once you get to AI, the types of skills that you risk losing by constantly asking it to assist you are the cognitive skills. Skepticism. Even inquiry, structuring a mental map in order to pursue the answer to a question. Losing skills in those things means that we are losing the ability to contain the thing that threatens us, which is the AI that's threatening the de-skilling.” — Chris Noessel, Power of Ten with Andy Polaine

Context

Andy Polaine raised the common argument that AI is just like Photoshop, another tool that changed a craft. Noessel answers that earlier tools cost people narrow technical skills, while AI puts general thinking skills at risk.

Transcript

Power of Ten with Andy Polaine Around 13:43 into the episode
Chris Noessel

…undergraduate, uh, and what I was doing is I was doing prepress for a, uh, textile printer, um, so T-shirts mostly. Yeah. Um, but it also includes some other things. And so prepress, when I got to the shop, I guess this is my third year of undergraduate, we're still using phototypesetting, so-

Andy Polaine

I know what that is,

Chris Noessel

yeah. Almost, almost no one will remember what this is. But back in the day, right, Letraset was really, uh, was a printed sheet of letters that you could purchase off the shelf, and they came in these little plastic sheets that you could lay down on top of a sheet of paper and rub the top of the plastic, and it would push the letter onto the paper. But that would create horrible baselines, and if you're setting a ton of text, it was a nightmare. So- On about the '80s, we had phototypesetters, which were complicated machines that had these transparent disks, each of which was dedicated to a single typeface, not even a font, but a single typeface. And you would have what was essentially a markup language. You would sit and you would code that markup language into this ancient machine, and it would tell things like, "Here's the size. Here's the position of this body of text. Here's the column width." Just like CSS now. Mm. But then you would tell it to go. You would load up some photographic paper, and then a, uh, a strong light within the machine would… Uh, it was a pinpoint light. Um, would… Uh, the machine would position that transparent thing, turn the large…

Andy Polaine

Stupefaction. I mean, I, I come back to music as the thing. I mean, the, the, the, the, the desktop publishing thing, I mean, I rem- my dad had an ad, ad agency, and so they used to have- Oh … finished artists who used to hand-letter and use Letraset and stuff, and I remember that sort of shift to…

Chris Noessel

we're paying for them.

Andy Polaine

Why not? Yeah. And, you know, and then, you know, design, actually people at some point realized that, oh, oh, actually that's kind of, that's not very good for quite a lot of things. But we still get plenty of, you know, in-o-office things that someone's printed out in Comic Sans and, you know…

Speaker names come from our own diarization. The position is estimated from where the line sits in the episode.

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