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eyeodyssey · 2 years ago

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The Post-Futurist Fossils of LITCHI HIKARI CLUB In a somewhat recent research tangent, while considering the possible “genealogy” of the Tokyo Grand Guignol’s themes and aesthetics, I made an interesting personal discovery regarding Litchi Hikari Club. Specifically some distinct thematic parallels that the play shares with the Italian futurist movement, less in relation to the art of the movement itself, but rather the ideologies of the movement’s controversial founder, Filippo Tommaso Marinetti, and his relation to the Italian fascist party. This is all of course in the context of understanding Litchi as a transgressive/dystopian horror story. This is less of an absolute statement than it is a sort of open train of thought, so take things with a fair grain of salt. This is more or less just my own personal analysis of all the materials I could gather of the original play. Beyond inspecting the play as a possible allegory for futurism, there's also just a lot of general analysis of the play in relation to Ameya's overall body of work, both with the Tokyo Grand Guignol and also as a performance artist. I rarely put a 'keep reading' tag on these things since I'm an openly shameless product of the early days of blogging, but this one's a doozy (both in the information but also just the gargantuan length). Hopefully others will find it just as interesting. The full essay is below...

The futurist movement itself was nothing short of an oddity. In their time, the futurists were pioneers of avant-garde modernist aesthetics, with their works ranging from deconstructive paintings to reality-bending sculptures and even early pathways to noise music with the creation of the non-conventional Intonarumori instruments of Luigi Russolo. Russolo’s own futurist-adjacent manifesto, The Art of Noises, would go on to influence such artists as John Cage, Pierre Henry, Einstürzende Neubauten and the openly left-wing industrial collective Test Department. When visiting the MOMA in New York City as a child, I was fascinated by Boccioni’s Unique Forms of Continuity in Space, a sculpture that appeared to be a spacetime malformation of the human figure encapsulated in a continual state of forward motion while in total stillness. Despite this, the futurists were also a social movement of warmongering misogynists, with their own founding manifesto by Marinetti describing the bloodshed and cruelty of war as being “… the only cure for the world”. Their manifesto would also feature quotes such as “We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice”. They would originally pin anarchism as being their ideological ground in the manifesto, but shortly thereafter Marinetti would pick up an interest in fascism along with the politics of Benito Mussolini, going on to be a coauthor for the Italian fascist manifesto alongside the futurist manifesto. In consideration of how throughout most of World War II, modernist and post-modern works were considered “degenerate” forms of art in contrast with traditionalism, a whole avant-garde movement founded from fascist ideals is paradoxical. But for a period of time, that parallel wasn’t only in existence, but backed by Mussolini himself with there being a brief effort by Marinetti to make futurism the official aesthetic of fascist Italy. One of the draws of futurism for Marinetti was an underlying sense of violence and extremity. According to Marinetti, his initial inspiration for the movement was the sensations he felt in the aftermath of a car accident where he drove into a ditch after nearly running over a band of tricyclists. He conceived his works to be acts of social disruption, intending to put people in states of unrest to cause riots and similar bouts of violence. “Art, in fact, can be nothing but violence, cruelty, and injustice”. He sought to destroy history to pave the way for a rapid acceleration to futuristic technological revelation.

“As shown in Edogawa Rampo’s Boy Detectives Club, young men like to hide from a world of girls and adulthood to form their own secret societies.” - June Vol. 27 In Litchi Hikari Club, a group of middle school-aged boys are faced with a crisis on the brink of puberty. At the twilight of their childhoods, they form a secret society known as the Hikari Club (or Light Club), a collective that’s devoted to the active preservation of their shared youth and virginity. The boys naively mimic an authoritarian organization and its hierarchy as they seek a means to preserve their boyhood, which they see as being idyllic in contrast to adulthood, a dreary state of existence that they call old and tired in the Usamaru Furuya manga version of the story. Similarly, in the Litchi Hikari Club-inspired short manga Moon Age 15: Damnation, the boys go on to liken their hideout with the paradisiacal garden of Eden. In said story, Zera would directly name the poem Paradise Lost in reference to the discovery of their hideout by adults (arriving in the form of ground surveyors) and the wide-eyed daughter of a land broker, with their contact to the virgin industrialized land being an ideological tainting of the sacred lair. In their mission, they seek refuge in technological inhumanity by having their penises replaced with mechanized iron penises, symbolic devices of power and violence that can only procreate with other items of technology. Working in absolute secrecy, they collectively manufacture a robot known as Lychee. The purpose of Lychee, previously only known to Zera, isn’t revealed to the other club members until its completion. It’s when they unveil their “cute” robot in a scene that parallels the 1920 German expressionist film The Cabinet of Dr. Caligari that Zera tells the other members of Lychee’s purpose as a machine that would kidnap women for them. The robot's efforts are assisted by the girl capturing device, a strange rice cooker-shaped mask that’s laced with a sleeping drug. When questioned about the fuel source for the robot, Zera explains how it will run off the clean fuel of lychee fruits rather than an unsavory yet plentiful substance like electricity or gasoline as a means to further match the robot’s perceived beauty.

While the club share a general disdain for adulthood, they hold a special hatred to girls and women. Going off the dogmatic repulsion to sexuality that Kyusaku Shimada shows as the teacher in the Tokyo Grand Guignol’s prior play, Mercuro (1984), it could be assumed that the Hikari Club hold a similar dogmatic viewpoint about the vices of sex. In this context, it’s likely that they would’ve perceived women as being parasitic by nature as spreaders of the “old” and “tired” adult human condition through pubescent fixation and procreation. Sexual thoughts are inherent to aging for most people, given the process of discovering and exploring your identity throughout puberty. It’s that exact pubescent experience the club seek to eradicate. Further insight is given to the Hikari Club’s dystopian psyche through their open allusions to nazi ideology. While Zera travels out to gather lychees from a tree he planted, the club get a special visit from a depraved elderly showman known as the Marquis De Maruo, performed by none other than Suehiro Maruo himself in the 1985 Christmas performance. Despite the club’s disposition to adults, they hold an exception for the Marquis for his old-timey showmanship and open pandering to the children’s whims. He always comes with autopsy films to show the young boys, and as they watch the gory videos he hands out candies that he describes as being a personal favorite of the late Adolf Hitler. He was said to also be the one to convince the boys to name their robot after the lychee fruit. It isn’t until Zera returns that the Marquis is removed from the hideout on Zera’s orders. Just before his exiling, he foretells to Zera the prophecy of the black star as both a promise and a warning to the aspiring dictator. It should be noted that there is a fascist occult symbol known as the black sun.

Suehiro Maruo as the Marquis De Maruo. On the right side is a caricature of Maruo as drawn by a contributor to June magazine, excerpted from an editorial cartoon in June Vol. 27 covering Litchi's 1985 Christmas performance. In addition, the Marquis’ role alongside Jaibo’s appearances in the play (which I’ll get to later) show distinct parallels with the presence of the hobo in the Tokyo Grand Guignol’s first play, Mercuro. In Mercuro’s case, the hobo (performed by Norimizu Ameya, who would go on to also act as Jaibo) visits the classroom in secrecy to lecture the students his depraved ideologies. Whilst the hobo in Mercuro was a figure of perversion that existed in contrast to the teacher’s paranoid conservatism, in Litchi both Jaibo and the Marquis are enablers of the club’s fascistic leanings, with the Marquis being a promoter whereas Jaibo is a direct representation of the underlining perversions of fascist violence. Though completely omitted from the Furuya manga, the element of the autopsy films shines a unique light on Zera’s death at the end of the story. In both the play and the manga, Zera is gutted alive by Lychee when the robot undergoes a meltdown after being forced to drown Kanon (Marin in the original play) in a coffin lined with roses. In the manga, Zera appears deeply unsettled when realizing his intestines resemble the internals of an adult. It’s unknown if this aspect is present in the theater version, as the full script remains unreleased to this day. It would fit however knowing not just the club’s repulsion to adulthood, but also how they retreat to technological modification to eradicate the human aspects they associate with adulthood. What is described of Zera’s death in the theater version has its own disquieting qualities as, from what’s mentioned, when confronted with his own mortality he appears to regress to a state of childlike delirium, a demeanor that’s drastically different from his usual calm and orderly presentation. Upon seeing his intestines, one of the responses he is able to muster is “I’m in trouble”. He says this as he questions whether or not he can fit his organs back inside the cavity before eventually telling himself that he’s just tired, that he “need(s) to sleep for a while”.

While never directly stated, it’s heavily implied that the club’s ideologies and technological fetishism ultimately root back to Jaibo, an ambiguously European transfer student who secretly manipulates the club’s actions from behind the scenes. Referred to by Hiroyuki Tsunekawa (Zera’s actor) as the “true dark emperor” of the Hikari Club, he was said to haunt the stage from the sides, closely inspecting the Hikari Club’s activities while keeping a distance. The iron phallus was first introduced by Jaibo through a monologue where he reveals how he fixed one to his own person, carefully describing its inner mechanisms and functionality before demonstrating its inhuman reproductive qualities by using the phallus to have sex with a TV. A television that he affectionately refers to as Psychic TV Chan, in reference to the post-industrial band fronted by Genesis P’Orridge. In the same scene, he promises the other members that they would all eventually get their own iron penises just like his own. In a subsequent scene, he reveals the iron phallus’ use as a weapon when, arriving to the club’s base with a chained-up female schoolteacher who accidentally discovered the sanctuary, he uses the device to brutally kill the teacher through a mocking simulation of sexual intercourse. Just before raping her, he likens her to a landrace, bred for the sole purpose of reproducing and being processed into meat for consumption. He menacingly tells her that he will make her as “cut and dry” as her role in society before carrying out her execution. While there was some confusion on whether or not the iron phallus was a machine or solely a chastity device, it was found in bits of dialogue that the iron phallus at least shares the qualities of a pump with a described set of rubber hinges. The teacher’s death gruesomely reflects the death of Kei Fujiwara’s character in the later film Tetsuo: The Iron Man (1989), with the iron phallus mangling her insides as blood splatters across the stage. While the club treats adult sexuality as a plague, they manage to find through the iron phallus a way to convert their own states of chastity into a form of violence, stripping all humanity away from the penis and rendering it to a weapon of absolute power through desolate mechanized cruelty.

JAIBO: “Length, 250 mm, with a weight of 2.4 kilograms. Arm diameter, 30mm. Cylindrical thrust, 170mm… With pins, plates and rods of die-cast alloy. And hinges of rubber… the rest is pure iron. It is the iron phallus.” - June Vol. 27 In the same interview, Tsunekawa would go on to recall how the members of the Hikari Club were effectively Jaibo’s guinea pigs. In both the play and the manga, an after-school night of the long knives ensues with the slow collapse of the Hikari Club as Jaibo influences the exiling of certain club members, with Zera left ignorant to the social engineering as a mere extension of Jaibo’s elaborate puppeteering. Left embittered by a chess match where he lost to Zera, Tamiya is easily tricked by Jaibo into burning the lychee field as a way to get vengeance. Upon being caught, Tamiya is castrated of his iron phallus, resulting in his exiling from the club as a traitor while also being mockingly likened to a woman in the process. In another scene, it’s recalled that Jaibo and Zera exchange a conversation about the Hikari Club’s loyalty to Zera as they observe the outside world through their periscopes. By all contemporary recollections, Jaibo was the club’s puppet master. He would’ve been the likely source of the club’s ideologies, the underlining hatred to women and fixation on technological violence, replacing mankind with a race of humanoid weapons. Zera would be a shell without his influence. The presence of futurism could arguably even be rounded down to Lychee’s presence in the story. Beyond his theoretic work, Marinetti was also a playwright. He would be most well known for his futurist drama La donna è mobile, a story riddled with similarly perverse renditions of sexual violence. The play notably featured the presence of humanoid automatons a full decade before the term “robot” would be coined by Czechoslovakian author Karel Čapek in the play R.U.R., with the French version of Marinetti’s script referring to the machines as “puppets” for their visual similarity to humans.

All of this plays out over a soundscape that’s dominated by unnatural electronic frequencies and synthesized percussion. The sound design was arguably one of the most important aspects of Ameya’s plays, with Ameya at one point describing the Tokyo Grand Guignol productions as being an ensemble of his favorite sounds. The setting further compliments the atmosphere, made to resemble the internal of a junkyard or factory warehouse where heaps of technical jump decorate the stage around the monochrome cabinet that would eventually birth Lychee. Some of the featured artists in the play’s first act include Test Department, The Residents, 23 Skidoo and Deutsch Amerikanische Freundschaft. The play’s opening, which depicts the capturing and subsequent torture of a student named Toba through a so-called “baptism of light”, is underscored by the S.P.K. song Culturcide, a grim primordial industrial dirge that paints the image of a dystopia where the genocide of ethnic cultures is likened to the infection of human cells by parasitic pathogens. Instead of being hung with a noose, Toba is suspended by a meathook, left as a decoration amidst the heaps of mechanized excrement. He would eventually be joined by the lifeless bodies of various women the Hikari Club abduct as they’re steadily gathered in a small box at the back of the stage. “Membrane torn apart, scavenging with the nomads. Requiem for the vestiges. Dissected, reproduced. The nucleus is infected with hybrid’s seed. Needles soak up, the weak must destroy. Cells cry out, cells scream out. Culturcide! Culturcide! Culturcide! Culturcide!” - Culturcide (from S.P.K.'s Dekompositiones EP)

“We are now entering an era which history will come to call ANOTHER DARK AGE. But, in kontrast to the original Dark Age, defined by a lack of information, we suffer from an excess of information, which has been reduced to the repetition of media-generated signs. Through this specialization, it is no longer possible for an individual to attain a total view of society. Edukation is struktured to the performance of a limited number of funktions rather than for kreativity.” “Kommunications systems are designed for the passive entertainment of the konsumer rather than the aktive stimulation of the user’s imagination. Through the spread of the western media, all kultures come to stimulate one another. By the end of the millennium, this biological infektion will have penetrated the heart of the most isolated traditions - a total CULTURCIDE.” “Yet in every era, a small number of visionaries rise above the general malaise. Those who will succeed, will resist the pressure to become kommercialized “images”, demanding identifikation and imitation. They will uphold their principles in the face of impossible odds. By remaining anonymous, they will be free to develop their imagination with maximum diversity. For this is the TWILIGHT OF THE IDOLS, - the end of the proliferation of the ikons and the advent of a new symbolism.” - From the back cover of S.P.K.’s Dekompositiones EP (released under the moniker SepPuKu) Over the course of the play, the story undergoes a drastic tonal shift as the focus moves from the Hikari Club’s hierarchical order and internal conflicts to the relationship between Lychee and Marin. Marin (performed by synthpop musician Miharu Koshi) was the first girl the Hikari Club successfully kidnap through Lychee after implementing the phrase “I am a human” in Lychee’s coding so it can understand the concept of human beauty. This small implementation causes a full unraveling in Lychee’s personality as it quickly forms a close bond with Marin, convinced that it is also a human like Marin. The soundscape changes alongside the overarching atmosphere, going from cold industrial drones and percussive electronica to ambient tracks. Some of the major scenes play out over moving piano-focused pieces and music box tunes from Haruomi Hosono’s soundtrack for Night on the Galactic Railroad. Originally created a weapon like the iron phalluses and the girl capturing device, Lychee is eventually defined in how he transcends from being a weapon to a conscious being with feelings. In this context, the play can be read as a juxtaposition of human emotion against inhuman futurist brutality.

This split was likely the product of the radically different creative ideologies of Norimizu Ameya (the Tokyo Grand Guignol’s founder and lead director) and pseudonymous author K. Tagane (the playwright for the group from Mercuro to Litchi). Ameya had come into the group with radical intentions, holding Artaudesque aspirations to transgress the literary limits of modern theater to achieve something deeply subconscious. Meanwhile, Tagane was a romantic who was known for their poetic and lyrical screenplays. Ameya purportedly sought out Tagane’s screenplays specifically to find a literary base he would “destroy” in his direction, deconstructing the poeticisms in his own unique style. He describes it briefly in an interview regarding the stage directions of Mercuro, stating how he took elaborate descriptions of a lingering moon and ultimately deconstructed them to the moon solely being an illusion set by a screen projector, mapping out the exact dimensions of the projection to being a 3-meter photograph of the moon rather than a “fantastic moon”. It’s believed by some that the Tokyo Grand Guignol’s formation and ultimately short run were the product of a miraculous balance between Ameya and Tagane’s ideologies. It’s possible that Litchi could’ve been a last straw between the two artists. After Litchi, Tagane left the group, with Ameya having to write the troupe’s final screenplay on his own. LYCHEE: “Marin is always sleeping… all she does is sleep. She doesn’t eat anything. Why does Marin sleep all day?” MARIN: “When you’re asleep, all the sadness of the world passes over you.”

"The second half of Litchi was predominantly driven by the sounds of Ryuichi Sakamoto and Haruomi Hosono. During a scene that featured a piece from the Galactic Railroad soundtrack, Miharu Koshi sang to Kyusaku Shimada while dancing like a clockwork doll to the sounds of a twisting music box. The scene lasted for a while and was very romantic, the interactions between Lychee and Marin were all very sweet and cute. The second act of Litchi was all a product of Tagane’s making. By the time of the following play, Walpurgis, I was told by a staff member that Ameya had written the screenplay by himself because Tagane had left.” “… While the first half was filled with repeated mantras and the unfolding aesthetics of an aspiring militia, the second half was immersed in the world of shoujo manga. It did appear that through the intermission, much of the junk and rubble around the podium was sorted out.” “… The Tokyo Grand Guignol’s plays were always defined by a strong nocturnal atmosphere. But in Litchi’s second half, it wasn’t a dark night, but a brightly lit one under the moonlight and plentiful stars in the sky shining through an invisible skylight. Marin doesn’t forgive Lychee immediately for his actions, responding to him harshly in a way that would confuse him and make him sulk. It came across as a somewhat bitter reimagining of a French comedy like Louis Malle’s Zazie dans le Métro or Jean-Pierre Jeunet’s Amélie, it was different that way in how it wasn’t only Maruo’s inferno.” - From a Twitter thread by user Shoru Toji regarding the 1986 rerun of Litchi Hikari Club Some questionable qualities do exist in the relationship between Lychee and Marin. What should be a peaceful retreat from the dystopian corruption still has a sinister undertone in the disparities between Lychee’s cold masculine features in contrast with Marin’s childlike girly innocence. It doesn’t help that Zazie dans le Métro (one of the mentioned films in the recollection) was directed by Louis Malle, who while known for such films as My Dinner With Andre and Black Moon was also responsible for the infamously discomforting Pretty Baby. Then again, Litchi was the product of a confrontational transgressive subculture, so the sinister undertones could be intentional. Keep in mind the contents of Suehiro Maruo’s prolific adaption of Shōjo Tsubaki and how it unflinchingly depicts abuse and manipulation through the eyes of a confused child. It could be possible that Lychee himself was intended to be childlike in its mannerisms. Throughout the existing descriptions, Lychee was shown as speaking in fragmented sentences while struggling to understand basic concepts. Zera was mentioned to also use certain phrases like “cute” when referring to the robot when it was unveiled. And it’s through Marin that Lychee learns morality like a child. The robot’s masculinity could be passed off as the cast all being adults. Hiroyuki Tsunekawa for instance shows distinctly sculpted features from certain angles when performing Zera.

In his aspirations to become a human, Lychee eventually “dies” like a human. With the burning of Zera’s lychee tree, the robot is left with a finite limit on its remaining energy before it totally loses consciousness. After his rampage, Lychee attempts to reunite with Marin, but he runs out of fuel. Before what should be a moment of resolution, things are cut short as the stage goes black, eventually illuminated to show an unpowered Lychee cradling Marin’s corpse in his arms. Zera reemerges to observe the remnants of Lychee and Marin. He speaks of how Lychee will crumble into nothingness alongside Marin for foolishly giving into human emotion, further implying the club’s views on humanity. After this, recollections of the play’s final lines differentiate somewhat. It was said that in the original Christmas performance, Zera calls out to Jaibo, posing the corpses of Lychee and Marin as being his seasonal gifts to Jaibo. Whereas in most popular recollections, it’s described that after his monologue, Zera shouts “Wohlan! Beginnen!” (German for “Now! Begin!”) before prompting the decorations across the stage to collapse, revealing a set of stepladders from behind that the remaining previously deceased club members stand, all drenched in blood with spotlights illuminating their faces from below. ZERA: “And with that, our tale of a foolish romance between woman and machine reaches its conclusion. It ends before me as I stand here, watching. Lychee, the machine, will rust away into dust. And Marin, a young girl, will rot away leaving behind only her bones, which too will crumble…”

Multiple readings can be deciphered from this conclusion. The most established theory is in relation to the Hikari Club’s aspirations for eternal youth, with the members technically achieving their goal through the stagnation of death. They will remain eternal children since they died as children, unable to ever grow into adulthood. In the context of futurism and mechanized fascism however, it could be read as a bitter observation of a lasting dictatorship. With how the Hikari Club members had rendered themselves less human than their own robot, they survive death to continue their work, seeking to one day eradicate humanity in favor of a race of sentient childlike weapons. “To admire an old picture is to pour our sensibility into a funeral urn instead of casting it forward with violent spurts of creation and action. Do you want to waste the best part of your strength in a useless admiration of the past, from which you will emerge exhausted, diminished, trampled on?” “… For the dying, for invalids and for prisoners it may be all right. It is, perhaps, some sort of balm for their wounds, the admirable past, at a moment when the future is denied them. But we will have none of it, we, the young, strong and living Futurists! Let the good incendiaries with charred fingers come! Here they are! Heap up the fire to the shelves of the libraries! Divert the canals to flood the cellars of the museums! Let the glorious canvases swim ashore! Take the picks and hammers! Undermine the foundation of venerable towns! The oldest among us are not yet thirty years old: we have therefore at least ten years to accomplish our task. When we are forty let younger and stronger men than we throw us in the waste paper basket like useless manuscripts! They will come against us from afar, leaping on the light cadence of their first poems, clutching the air with their predatory fingers and sniffing at the gates of the academies the good scent of our decaying spirits, already promised to the catacombs of the libraries.” - from the 1909 Futurist Manifesto by Filippo Tommaso Marinetti

I forgot what exactly first caused the parallel to cross my mind. I do recall it being reignited when having a closer look over the poster and flyer for Litchi’s Christmas performance in December 1985. The flyer in particular is really a wonderful thing to look at. Predominantly featuring an art spread by Suehiro Maruo, a suited man with Kyusaku Shimada’s likeness is shown caressing a girl in front of a modernist cityscape with spotlights shining up to a night sky. Other suited men in goggles fly in the air with Da Vinci-reminiscent flying apparatuses between the beams of the metropolis’ spotlights. A student in full gakuran uniform flings himself into the scene from the far left side of the image with a dagger in hand, and a larger hand comes from the viewer’s perspective holding a partially peeled lychee fruit. While not based on any direct scene from the play, it perfectly instills the play’s atmosphere with an air of antiquated modernity, like the numerous illustrations of the early 1900s that show aspirational visions of what a futuristic cityscape might resemble. The bizarre neo-Victorian fashions of the future and its post-modernist formalities. The term futurism came to mind somewhat naively from this train of thought. It was a movement I recalled hearing about, but my memory of it was hazy. It wasn’t until I went in for a basic refresher that I felt the figurative lightbulb go off in my head. That was when the pieces started to come together, but then also strain apart from each other into tangents. Granted, many of these parallels could be read as coincidental. Many of them can even be passed off the play being a work of proto-cyberpunk, knowing how Tetsuo: The Iron Man would subsequently explore similar themes of cybernetics and human sexuality. It should still be noted however that in contrast with many of the Japanese cyberpunk films, Litchi was explicit in its connotations between technological inhumanity and fascism, with the machinery itself being the iconography of a dictatorship rather than a product of it. In addition, with Tetsuo the film has strong gay overtones, with the technology being an extension of the sexual tensions between the salaryman and the metal fetishist. For a period of time, efforts were made to make futurism the official aesthetic of fascist Italy, and modern fascism as we know it is in the same family tree of Italian philosophy as futurism. The Hikari Club are explicit in drawing from German aesthetics rather than Italian however, speaking in intermittent German and predominantly using German technology. The spotlight that they used when torturing Toba in the first act, for example, was a Hustadt Leuchten branded spotlight. And if that isn’t a German name I don’t know what is. It was also said that Jaibo’s outfit in the play was modeled after German school uniforms. Though then again, the Tokyo Grand Guignol’s works were a bit of a cultural slurry. Jaibo’s name for example is Spanish (derived from Luis Buñuel’s Los Olvidados), while the character is implied to be German.

Similar to the cited origins of futurism, Ameya stated in a 2019 tweet regarding the June 9th, 1985 abridged Mercuro performance on Tokumitsu Kazuo’s TV Forum that in the following August of that year, an airplane accident occurred that led to the conception of Litchi’s screenplay. The exact nature of the accident was never specified, but the affiliates he was communicating with all appeared to be familiar with it and expressed concern when it was brought up. This was however one of an assortment of influences that were cited behind Litchi’s production, with the two more established theories regarding the then-contemporary mystique around lychee fruit in Chinese cuisine along with the play being a loose adaption of Kazuo Umezu’s My Name is Shingo. For what it’s worth, the themes of Litchi, along with the Tokyo Grand Guignol’s other works, were closely tied with certain concepts that Ameya personally cultivated throughout his career. A frequent recurring topic Ameya would bring up in relation to his works was the nature of the human body in relation to foreign matter, need it be biological or unnatural. With Mercuro the students taught by Shimada are made into so-called Mercuroids by having their blood supplies replaced with mercurochrome, a substance that is referred to as the “antithesis of blood” by Shimada while in character. In an interview for the book About Artaud?, Ameya cites an interest in Osamu Tezuka’s manga in how certain stories of Tezuka’s paralleled Ameya’s observations of the body. He directly names Dororo and Black Jack, observing how both Hyakkimaru and Black Jack reconstructed their bodies from pieces of other people, going on to bluntly describe Pinoko as a “mass of organs covered in plastic skin”.

A section from June Vol. 27 highlighting some of the more established performers from Litchi's 1985 Christmas performance. The actors from left to right are Norimizu Ameya as Jaibo, Naomi Hagio as the female school teacher (best known in cult circles for her role as Kazuyo in the 1986 horror film Entrails of a Virgin), Suehiro Maruo out of costume and Miharu Koshi as Marin. During his temporary retirement from theater, Ameya would take up performance art, with some of his performances revolving around acts with his own blood. While my memories of these works are a bit hazy, I remember one action he performed that involved a blood transfusion, with the focus being on the experience of having another person’s blood coursing through your veins. While I didn't have much luck relocating this piece (probably from it not being covered in English), I did find on the Japan Foundation’s page for performing arts an interview where Ameya discusses being in a band with Shimada where Ameya had blood drawn from his body while he played drums. He would also describe an art exhibition where he displayed samples of the blood of a person infected with HIV. “After 1990 he left the field of theatre and began to engage himself with visual arts - still proceeding to work on his major topic - the human body - taking up themes like blood transfusion, artificial fertilization, infectious diseases, selective breeding, chemical food, and sex discrimination, creating works as a member of the collaboration unit Technocrat.” - Performing Arts Network Japan (The Japan Foundation) There are still an assortment of open questions I’m left with in regards to the contents of the original Litchi play. One of the most glaring ones is Niko’s eye. In consideration of Ameya’s interest in the body, the detail would fit perfectly with his ideologies. A club member who, to show his absolute loyalty to the Hikari Club, has his own eyeball procedurally gouged out to be made a part of the Lychee robot. Despite this perfect alignment, none of the contemporary recollections mention this element. While Niko does have an eyepatch in certain production photos, it never seems to come up as a plot point. He isn’t the only one to bear an eyepatch either, with Jacob also being shown with an eyepatch in flyers. More questions range from Jaibo’s motives in causing the dissolution of the Hikari Club to the true nature of Zera’s affiliation to Jaibo. While Tsunekawa has stood his ground in the relationship between Zera and Jaibo being totally sexless, in the cited volume of June the editor playfully refers to Jaibo as being Zera’s “best friend” in quotes.

A side-by-side comparison of the cast listings on the back of the flyers for the December 1985 performance of Litchi Hikari Club alongside its 1986 rerun. The 1985 run's lineup is at the top while the 1986 run is at the bottom. Much speculation is naturally involved when looking into the original Litchi Hikari Club since it is in essence a cultural phantom. There’s a reason I used the term genealogy in relation to my research of the Tokyo Grand Guignol’s works. It is an artistic enigma as while its presence lingers in subculture, the original works are now practically unattainable due to the inherent nature of theater. As Ameya himself would acknowledge in another interview, theater is an immediate medium that can only be perceived in its truest form for a very short span of time before eventually disintegrating. So with the Tokyo Grand Guignol’s plays, you are left to scour through the scattered remnants and contemporary recollections alongside the figurative creative descendants of the plays. You analyze the statements of both the original participants and the people they openly dismiss, as even those people were original audience members before reinterpreting the plays to their own unique visions. Despite the apparent differences, I still feel that Furuya’s manga gives a unique perspective to the story when viewed under dissection. That is if you want to see it in strict relation to the play. Outside that, I feel it firmly stands on its own merits. I like the manga no matter what Tsunekawa says, that’s what I’m trying to say. Ameya approved it anyway. It took me a full day to write all this out, and like the first time I went down this train of thought, I’m pooped. During that first excursion, after excitedly spiraling through these potential connections, I noticed in passing mention something about Marinetti’s cooking. You see, later in his life Marinetti aimed to apply futurism not just to art and theater, but cuisine also. As an Italian, Marinetti openly despised pasta, seeing it as being an edible slog that weighs down the spirits of the Italian people. Just further evidence that I would never get along with the man, no matter my liking of the Boccioni sculpture I saw at MOMA all those years ago. Well, outside of him being a fascist and all obviously. I like pasta. Either way, he was on a mission to conceive all-new all-Italian cuisines that would match the vision he had of a new fascist Italy. Nothing could prepare me though for when I saw an image of what would best be described as a towering cock and ball torture meat totem. It is exactly as it sounds, a big phallic tower of cooked meat with a set of gigantic dough-covered balls of chicken flesh on the front and back where you have to stick needles through the thing to hold it together. Words cannot express just how big it is. The thing was damn well near falling apart from how unnatural its shape was, and you’re expected to eat it while it has honey pouring from the tip of the tower. I genuinely winced watching its assembly, I instinctively crossed my legs somewhat when it was pierced by wooden sticks and then cut into sections to reveal the plant-stuffed interiors. As a person with no interest whatsoever in cooking shows, I was on the edge of my seat watching a PBS-funded webisode of someone preparing futurist dishes. Seek it out for yourself, it’s an excessively batshit culinary freakshow. That is more than enough talk about penises for the rest of the week. I’m going to spend the next few days looking at artistic yet selectively vaginal flowers to balance things out, equal opportunity symbology.

#litchi hikari club #lychee light club #norimizu ameya #suehiro maruo #tokyo grand guignol

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ironyscleverer · 7 months ago

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Doctor Who as a Post-Colonial Metaphor

Recently I've been thinking a lot about how beautifully Doctor Who reflects the state of post-colonial British identity, and tumblr seems like the appropriate place to share my ramblings. So let’s see if I can explain in a way that makes sense.

I must start by putting on my obnoxious little film degree hat and reminding everyone that sci-fi is one of those genres that is highly political (as most things are, but scifi even moreso). It turns out it's pretty easy to get a sense of people's fears and anxieties by asking them to envision the future, and that's what sci-fi media does; it uses contemporary cultural standards and ideas to create a vision of what futuristic/advanced science and technology might look like, and how people might respond to it. In doing so, it ends up taking the social and political temperature of the time and place in which it's created.

As such, it's very, very common for scholars to analyze sci-fi media through this lens; even Frankenstein, arguably the first science fiction novel ever written, is often interpreted as reflecting cultural fears regarding swiftly advancing science and technology during the early stages of the industrial revolution. The Day The Earth Stood Still (1951) is another great, very blatant example of how sci-fi and politics can interact. In this movie, a Jesus-like alien ascends to Earth during the Cold War to warn the human race about their imminent nuclear annihilation. It seems corny to us now, but it's actually a great movie and I would highly reccomend it. It's rumored that the US Department of Defense read the script and Did Not Like It because the themes were too anti-war.

In other words, despite often being viewed as too “pop,” too goofy, and too unserious to have any deep meaning, pretty much any scifi story can be analyzed within an inch of its life using a meta social/political lens. It's not the only way to interpret sci-fi, but it's by far the most common. One must simply ask, “what does this vision of science, technology, and/or the future say about us as we are now?”

But anyway. Doctor Who. Disclaimer: I haven't watched the classic series so I'll focus on 2005 onward (still post-colonial so it still holds up, lol). If you've seen Classic and you'd like to chip in, please do.

Genre-wise, Doctor Who is more-or-less a space-western, a subgenre of sci-fi that incorporates Western elements—exploring new frontiers, engaging with unfamiliar civilizations, rogue figures, etc. Star Trek is the peak example of this, but there are many, many others.

Of course, the Western genre is dripping with colonialism due to its historical setting of the American West, and the racist depictions of Indigenous peoples. Space-westerns, consequently, also tend to address colonial topics. Sometimes space westerns are just as racist as normal westerns, but sometimes they use the genre reflexively, to question colonial ideals. A more progressive space-western might be more willing to “humanize” the alien cultures they meet, asking questions like, "how does one ethically engage with foreign societies?" or "When is it appropriate to intervene in a conflict?" etc.

Althought these kinds of questions come up regularly in Doctor Who, especially regarding its anti-war messaging (Time War etc.). These themes become doubly interesting when you use them to inform your interpretation of The Doctor, both as a character and as a symbol.

Consider this: The Doctor is the embodiment of an ancient and immensely powerful being with a bloody history. Their kill-count is quite literally somewhere in the quadrillions. Although they are a self-proclaimed pacifist, they are still constantly a perpetrator of death and destruction throughout the series. The Doctor, despite repeatedly and loudly choosing peace, can never seem to keep their hands clean of chaos and suffering. Doctor Who is about an entity that destroys everything they touch, sometimes on purpose, sometimes not. As an allegory for grappling with the legacy of British imperialism, I'd say it's pretty on the nose.

In this sense, not only is Doctor Who a show about colonialism, it is also a show about identity in the wake of colonialism. It's even in the name: "Doctor Who?" Who is the Doctor? What is their responsibility to the universe? What does it mean to be ancient and powerful and drenched in the blood of millions? How do they move on, become better, without falling into the same traps? What does it mean to be British?

These questions come up over and over throughout the new series, from the destruction of Gallifrey, to the Timelord Victorious, to A Good Man Goes to War, the Flux (arguably), and many, many other smaller plotlines I could mention. Even in the latest series with Ncuti Gatwa, the focus on adoption and family is in a similar vein—where does the Doctor come from? What does it even mean to be “from” a place? How much do your origins truly contribute to who you are and who you become?

How the companions fall within this framework is also interesting; if the Doctor is a stand-in for the nation as an entity, then the Doctor's companion, the everyday British person, is the stand-in for the populace. The companions are ever-changing, ever-evolving, constantly renegotiating their relationship with the Doctor. The companion's ultimate challenge is to find how they fit into the narrative of the Doctor's life, and try their best to come out the other end with a happy ending (ha).

Of course, Doctor Who is owned by the BBC, meaning it is quite literally nationally subsudized TV. As a result, althought the show is actually VERY critical in some places, the Doctor is usually ultimately sympathetic; their good intentions tend to forgive a lot of the problems they've caused. The companion is usually charmed by the Doctors' seemingly endless tragedy of a life. This is a country's state-owned media company working with it's own self-image--it's inherently a work of self-reflection, and perhaps of self-obsession, too.

It would be easy to be cynical about Doctor Who as a product of the BBC, which is state-funded (but notably not owned or directly controlled by the government!). However, I tend to think that just writing it off as propaganda because of this is doing the show a disservice. Yes, there is an inherent privilege and self-centeredness to endlessly forgiving the Doctor, but that's also kind of the whole point; it's a show about coming to terms with one's horrible past. It's a show about learning to formulate a new sense of self. To demand that Doctor Who to be less self-obsessed, to not be about British identity when it is in fact a British show for Brits about Brits, is just a bit unrealistic.

Instead, I choose to believe that Doctor Who can and does use its privilege for good more often than not. The creators tend to be very progressive (as sci-fi so often is) and they can get away with a lot of very progressive messages in the guise of a silly sci-fi show for families. Most recently, I would point to s14e3: Boom, s14e5: Dot and Bubble as examples of thinly veiled rants about the evils of capitalism, war, racism, social media, etc. To ignore or dismiss Doctor Who because it has some form of institutional backing would be doing the actual stories and writers a disservice.

Finally, let me leave you with one last point; One consistancy throughout the new series that I find very charming is the positive effect the companions always have on the Doctor. Companions come and go, which is sad, but they're each special in their own little way, and they each change the Doctor, wearing them down a little at a time. The Doctor is consistently at their worst when they are alone, removed from the people that make them want to be better.

Very often the companion's parting message for the Doctor is "don't be alone.” This can be extrapolated to mean: don't forget we exist. Don't forget to be kind. Even if you can't help your legacy, even if you can't wash the blood off your hands, you can always keep striving to be better. Keep someone around to remind you to be better. And the Doctor, more often than not, does. Because ultimately it is the companions, us the people, that make the Doctor who they are.

It’s this special brand of relentless optimism, this indomitable belief in the goodness of people and the power of that goodness that always brings me back to Doctor Who, one way or another, despite all its flaws.

Edit 11/29: corrected some info about the BBC per the comments!

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dreamwatch · 1 year ago

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Computer Love

Written for @corrodedcoffinfest

Ok, I wasn't going to write for today, but I was sitting on a work call and it made me think of the IT Crowd and that made me think of our beloved idiots. And honestly, I've been writing so much angst I thought I should try and redress the balance!

Steve wasn’t exactly over the moon about working for his dad, but one failed retail job after another and a few unpaid bills is all it took to have him crawling back to Harrington Senior. He didn’t want to be an office gopher, or work in the mail room, not at his age, but he’d suck it up.

Head of IT. His dad was making him Head of IT.

So far he’s told two friends. Robin, who stared at him like he had two heads before saying “Is he joking? Is it— is it like an April Fools thing?” And Dustin who was even less polite:

“What the fuck do you know about information technology?”

“Is that what it stands for?”

“Jesus Christ, Steve.”

He heads to the bank of elevators looking for his department. Harrington Industries is spread over twenty floors. He wonders if he’ll get a corner office. God the views…

Steve runs his fingers down the list until he finds IT. Basement. No view then. Shit.

He exits the elevator into a dingy hallway, discarded PCs and printers stacked everywhere, and trips over a cable almost immediately.

Finally he finds his department. And… well…

Fuck.

Yeah. It’s all making sense now.

It looks like a frat house. There are two guys on a ratty couch playing video games, and another two at desks; one mop top making cat memes, and an admittedly cute guy with long hair with his feet up on his desk. There are phones ringing and no one seems bothered by them, until eventually Long Hair lets out an exasperated sigh and picks up.

“IT Support, have you tried turning it off and on again? Uh huh. Yeah it’s the button on the front of the… yup, big grey button… can’t miss it… you know what, let me send someone up. What’s your floor? Uh huh, and name? Melanie. Melanie in Marketing. Well, I’m going to be sending my best guy up—“

And, finally someone has noticed he’s there.

“Uh, he’s on his way, bye.” Long Hair drops the phone. “Guys, we have company.”

“Hi, I’m Steve,” he says, smiling at the four faces now firmly fixed on him. “I’m your new boss.”

“Not for long,” snarks one of the guys on the couch.

“Matty, be nice!” says Long Hair, and god he has beautiful eyes. Shit, fuck, no, don’t go there. “I’m Eddie, that’s Matt, who is just about to head up to Melanie on four—“

“Oh for fu—“

“—That’s Jeff sitting next to him,” Jeff raises a hand, “and this is Gareth.” Gareth just scowls at him.

Steve finally gets a good look at them all. Ratty band shirts and sneakers, ripped jeans, totally unprofessional, they look like they’re in a band not an office. He’s going to be making some serious changes around here.

“Well it’s good to meet you all,” he says and finally catches sight of a small office. He points at it, “Take it this is mine.”

“Sure is,” says Eddie. “We didn’t know exactly when you were coming so you’re not set up yet, but Jeff will get that done this afternoon for you.”

“Why this afternoon?”

Jeff stares at him like he has two heads. “It’s Minecraft Monday.”

“Yeah, I have no idea what that is.”

Eddie laughs. “It’s fine, I’ll come in a few minutes get you hooked up. Why don’t you make yourself comfortable. Boss.”

His office is small and cluttered with more junk, and definitely no window. God, this sucks.

There’s a knock at the door and he turns to find Eddie leaning against the door frame, arms crossed against his chest.

“How d’ya like the place?”

Steve runs his hand through his hair, pushing it back off his face.

“Uh, yeah, it’s, you know…”

“A shit hole?”

“Yeah, a shit hole.”

“I take it Donny didn’t exactly fill you in on the details.”

Steve drops into the torn office chair. “Not really,” he sighs. “He has a habit of that.”

Eddie straightens up. “You’ve worked with him before?”

He laughs. “Better than that. He’s my dad.”

“Oh shit.”

Gareth barges in. “Wait, Donny the Dick is your Dad?”

“Donny the— hey, that’s—he’s the guy that pays your salary, a little respect.”

“Pretty sure that’s Karen in finance.”

“What…? You know, never mind. Point is, this department is a mess and there’s going to be some changes around here. Starting with the way you answer the phones, you can’t just tell people to turn the computers on and off—“

“—off and on,” Jeff cuts in.

“Whatever, you can’t do it. You need to ask what’s wrong.”

Eddie laughs. “I mean, we could, but the answer would still be to turn your PC off and on again so…”

Jeff and Gareth nod along like those stupid plastic toys. God, is it too late to go back to Family Video?

“Well, that’s as maybe, but for now you’re… ah, dismissed.”

He doesn’t miss Eddie’s amused smirk, as he gestures for his troops to leave. But then he’s perching himself on the edge of the desk, leaning into Steve’s space, those big brown eyes pinning him in his seat.

“So, just between us, you don’t actually know anything about IT, do you?”

“I mean… I know… uh, like mice, you know and uh… oh!” Steve snaps his fingers and points, triumphantly. “HTNL!”

Eddie’s biting his lip, god he has beautiful lips. “It’s HTML, but you were close. Do you do a lot of coding, Steve?”

He flops back in the chair, defeated. “Up until last week I was working in Family Video.”

“In their IT department?”

“No, in their ‘this is due back in two days department.’” He groans. “What the fuck am I going to do?”

Eddie laughs. “Don’t sweat it, you’ve got a lot more going for you than the last guy.”

“I have?”

“Oh yeah. At least you’re pretty,” he says with a wink.

Yeah, Steve’s totally screwed.

#corrodedcoffinfest #corroded coffin #corroded coffin au #steve harrington #eddie munson #gareth stranger things #jeff stranger things #matt (unnamed freak stranger things)#fluff and nonsense #it crowd au

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resonancewitness · 18 days ago

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Change is coming to Chinese online fandoms?

Went searching online for something, tangentially found something else that I think is very relevant to the future of the Chinese fandoms. Looking, again, not just at the focus point, but also at the background.

On June 10-11, 2025 China Internet Civilization Conference was held in Hefei, Anhui province. And the next day The State Council Information Office (SCIO) held a press conference Wednesday in Beijing about it.

The theme was “Gathering Positive Energy on the Internet and Leading New Trends of the Era”.

I read a few articles about it, and here is my summary.

Turns out the number of Chinese online users below 30 years of age is 540 million, and they comprise about 50% of Chinese online users altogether.

(...If we look at the number of Wang Yibo’s and Xiao Zhan’s online followers, taken together, they will come up to some 73 million people. Some of those followers are bots; some are over 30 years old; some overlap (at least 4,5 million shippers, + potentially works-appreciators-of-both-but-not-shippers); some may be "water armies" soldiers. But I do believe if we subtract these, we may come down to at least 54 million people. That would mean that every tenth Chinese online user below thirty is either a Xiao Zhan follower, or a Wang Yibo follower. And that puts the fan wars between the three fandoms (“shrimps”, “moto” and “turtles”) in perspective. It is a massive societally disruptive ongoing online conflict.)

“According to the initiative, young people are the most active group in the virtual world and play a crucial role in making the cyberspace civilized. By guiding young netizens into becoming the participants, keepers, communicators and promoters of civilized behavior, the whole online environment can be injected with positive energy, it said.” (source)

This made me think of an article I read about the pattens of “survival and migration” in Chinese fandoms. As far as I understand it, what happens is some fans do something stupid and disgraceful that comes up on the first page of “trending on Weibo” or elsewhere as visible to international observers, and this is a “loss of face” situation for the country. Regulatory organs execute a “crackdown”, close some fandom spaces, fans migrate elsewhere, the cycle repeats. ...There are many other factors involved, of course, besides just "stupid and/or disgraceful", but this is a big topic for potential separate discussion.

But now it looks like they are looking for a positive alternative, a “thriving settlement” model instead of “evicted tenants” model.

“The two-day conference, themed on gathering positive energy online and fostering new trends of the times, was jointly held by the Office of the Central Cyberspace Affairs Commission and the Central Commission for Guiding Cultural and Ethical Progress, along with Anhui provincial authorities.

Li Shulei, a member of the Political Bureau of the Communist Party of China Central Committee and head of the Publicity Department of the CPC Central Committee, delivered a keynote speech at the event.” (source)

That tells us about the importance of the event. The Politburo is a very small group of people at the highest tier of authority. The presence of Li Shulei shows how seriously the state is taking the issue of “online rumours”. What constitutes rumours, now, that’s a great question.

“The event features an opening ceremony, main forum, 14 sub-forums, and special themed activities, making it a major national-level event addressing internet governance and digital culture. With participation from high-level officials and industry leaders, the conference coincides with the launch of the 2025 National Digital Literacy Enhancement Month, showcasing innovative technological demonstrations and cultural performances, and addressing crucial contemporary issues like AI governance, online ethics, and digital development.” (source)

The rhetoric of “clean and upright” online environment is here again, as it has been since the earlier crackdowns. But this time it happens within the 10-year framework of the initiative of “building a strong education nation”, prioritising both critical thinking, learning, and mental health, that the country has launched in January this year.

At the conference, they have been talking about “fairer and more open content distribution mechanism can be designed, presenting more authentic and comprehensive information to a vast number of netizens”, that implies the understanding that the current online algorithms amplify bad quality content (fake, scandalous, clickbait-ey etc.), making the more “emotionally provocative” pieces of information more visible and influential than the more “rational, wise, thought-provoking, and clear”. And that this is seen now as a problem to be addressed.

The rhetoric now is about “sharing positive stories of community-building from all sectors of society”. Tell us what really works in practice, in other words. This is solution-focused, not only problem-focused, and creating a pool of success stories for collaborative learning.

Because really, what makes an online community a community? What is needed to create a welcoming and supportive digital space for the fandom, in particular?

Maybe it is not just “surveil, identify, and punish” strategy.

I guess we’ll see a lot of changes in the Chinese online space in the next few months. (Fastening the seatbelt, ha.)

One of the sub-forums at the conference was called “International Exchange and Mutual Learning on Internet Civilization“, which is particularly interesting for me, because of the existence of what is commonly called the Great Chinese Firewall, or the Wall, in short, �� the massive blocking of access to “outside” Internet space for common Chinese users. How can international exchange and mutual learning happen over/ across the Wall? Of course it is not fully impenetrable, we can see that, for example, the celebrities and their studios have international presence (to post,- and, I assume, to research internationally available celebrity-related information).

This sounded interesting: “multi-stakeholder governance in cyberspace. He (Ran) called for embracing openness and inclusiveness, expanding international cooperation, and promoting cultural exchange and mutual learning among civilizations. By working together, stakeholders can build a more just, secure, and dynamic digital future that benefits people across countries and regions.” (source) If it is not just “officialese”, what can happen to ensure the reality of this vision? Extremely interesting.

So what is my take out from all that:

Change is coming within the next few months

Online rumours will be better identified and less tolerated

Understanding and embodying traditional Chinese values and the ideal of the “positive youth” that is in the Party directives, will become a requirement for Chinese netizens; a value-based approach to online engagement

Critical thinking and discernment of valid/ invalid sources (and making logical conclusions from the data from the given sources) will be taught (and enforced?)

Possibly this will touch on the interactions between Chinese and international fandoms?

#xiao zhan #wang yibo #fandom #real person fandom #gossip mongering machinery #international fandom #fan wars #traditional chinese values #the ideal of positive youth #values #crackdowns

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dreaminginthedeepsouth · 3 months ago

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Captain Crunch. http://Newsday.com/matt

* * * *

LETTERS FROM AN AMERICAN

April 21, 2025

Heather Cox Richardson

Apr 22, 2025

Yesterday, on Easter Sunday, Pope Francis performed his final public act when he waved to worshippers in St. Peter’s Square. He died today at 88. Born in Argentina, he was the first Pope to come from the Americas. He was also the first Jesuit to serve as Pope, bringing new perspectives to the Catholic Church and hoping to focus the church on the poor.

The stock market plunged again today after President Donald J. Trump continued to harass Federal Reserve chair Jerome Powell. The threat of instability if Trump tries to fire Powell, added to the instability already created by Trump’s tariff policies, saw the Dow Jones Industrial Average fall 971.82 points, or 2.48%; the S&P 500 dropped 2.36%, and the Nasdaq Composite fell 2.55%. The dollar hit a three-year low, while the value of gold soared. Journalist Brian Tyler Cohen noted that since Trump took office, the Dow has fallen 13.8%, the S&P 500 is down 15.5%, and the Nasdaq is down 20.5%.

Hannah Erin Lang of the Wall Street Journal reported that “[t]he Trump rout is taking on historic dimensions.” She noted that the Dow Jones Industrial Average “is headed for its worst April performance since 1932,” when the country was in the midst of the Great Depression. Scott Ladner, chief investment officer at Horizon Investments, told Lang: “It’s impossible to commit capital to an economy that is unstable and unknowable because of policy structure.”

The Trump administration announced on April 11 that it would withhold from Harvard University $2.2 billion in grants already awarded and a $60 million contract unless Harvard permitted the federal government to control the university’s admissions and intellectual content. Today, Harvard sued the government for violating the First Amendment and overstepping its legal authority under the guise of addressing antisemitism.

The complaint notes the “arbitrary and capricious nature” of the government’s demands, and says, “The government has not—and cannot—identify any rational connection between antisemitism concerns and the medical, scientific, technological, and other research it has frozen that aims to save American lives, foster American success, preserve American security, and maintain America’s position as a global leader in innovation.”

University president Alan Garber explained that the freeze would jeopardize research on “how cancer spreads throughout the body, to predict the spread of infectious disease outbreaks, and to ease the pain of soldiers wounded on the battlefield.” He continued: “As opportunities to reduce the risk of multiple sclerosis, Alzheimer’s disease, and Parkinson’s disease are on the horizon, the government is slamming on the brakes. The victims will be future patients and their loved ones who will suffer the heartbreak of illnesses that might have been prevented or treated more effectively. Indiscriminately slashing medical, scientific, and technological research undermines the nation’s ability to save American lives, foster American success, and maintain America’s position as a global leader in innovation.”

Harvard is suing the departments of Health and Human Services, Justice, Education, Energy, and Defense, the General Services Administration (GSA), the National Institutes of Health, National Science Foundation, NASA, and the leaders of those agencies.

After news broke yesterday that Defense Secretary Pete Hegseth had disclosed classified information on a second unsecure Signal chat—this one on on his unsecure personal cell phone—and his former spokesperson told Politico the Pentagon was in “total chaos,” and he fired three of his top aides, media articles today wrote that officials were looking for a new Secretary of Defense.

But Hegseth blamed the media for the exposure of his Signal chats, and Trump stood by Hegseth. According to Dasha Burns, Eli Stokols, and Jake Traylor of Politico, the president doesn’t want to validate the stories about disarray at the Pentagon by firing Hegseth. “He’s doing a great job,” the president told reporters. “It’s just fake news.”

While the visible side of the administration appears to be floundering, new stories suggest that the less visible side—the “Department of Government Efficiency”—has dug into U.S. data in alarming ways.

On April 15, Jenna McLaughlin of NPR reported on an official whistleblower disclosure that as soon as members of the “Department of Government Efficiency” (DOGE) arrived at the National Labor Relations Board (NLRB), they appeared to be hacking into secure data. While they claimed to be looking for places to cut costs, the behavior of the DOGE team suggested something else was going on. They demanded the highest level of access, tried to hide their activities in the system, turned off monitoring tools, and then manually deleted the record of their tracks, all behaviors that cybersecurity experts told McLaughlin sounded like “what criminal or state-sponsored hackers might do.”

Staffers noticed that an IP address in Russia was trying to log in to the system using a newly created DOGE account with correct username and password, and later saw that a large amount of sensitive data was leaving the agency. Cybersecurity experts identified that spike as a sign of a breach in the system, creating the potential for that data to be sold, stolen, or used to hurt companies, while the head of DOGE himself could use the information for his own businesses. “All of this is alarming," Russ Handorf, who worked in cybersecurity for the FBI, told McLaughlin. "If this was a publicly traded company, I would have to report this [breach] to the Securities and Exchange Commission.” When the whistleblower brought his concerns to someone at NLRB, he received threats.

“If he didn’t know the backstory, any [chief information security officer] worth his salt would look at network activity like this and assume it’s a nation-state attack from China or Russia,” Jake Braun, former acting principal deputy national cyber director at the White House, told McLaughlin.

McLaughlin noted that the story of what happened at the NLRB is not uncommon. When challenged by judges, DOGE has offered conflicting and vague answers to the question of why it needs access to sensitive information, and has dismissed concerns about cybersecurity and privacy. The administration has slashed through the agencies that protect systems from attack and Trump has signed an executive order urging government departments to “eliminate…information silos” and to share their information.

Sharon Block, the executive director of Harvard Law School's Center for Labor and a Just Economy and a former NLRB board member, told McLaughlin: “There is nothing that I can see about what DOGE is doing that follows any of the standard procedures for how you do an audit that has integrity and that's meaningful and will actually produce results that serve the normal auditing function, which is to look for fraud, waste and abuse…. The mismatch between what they're doing and the established, professional way to do what they say they're doing...that just kind of gives away the store, that they are not actually about finding more efficient ways for the government to operate.”

On April 18, Makena Kelly and Vittoria Elliott of Wired reported that DOGE is building a master database that knits together information from U.S. Customs and Immigration Services, the Internal Revenue Service (IRS), the Social Security Administration, and voting data from Pennsylvania and Florida. This appears to be designed to find and pressure undocumented immigrants, Kelly and Elliott reported, but the effects of the consolidation of data are not limited to them.

On April 15 the top Democrat on the House Committee on Oversight and Government Reform, Gerald Connolly of Virginia, asked the acting inspector general at the Department of Labor and the inspector general at the NLRB to investigate “any and all attempts to exfiltrate data and any attempts to cover up their activities.” Two days later, he made a similar request to the acting inspector general for the Social Security Administration.

Connolly wrote: “I am concerned that DOGE is moving personal information across agencies without the notification required under the Privacy Act or related laws, such that the American people are wholly unaware their data is being manipulated in this way.”

On April 17, Christopher Bing and Avi Asher-Schapiro of ProPublica reported that the administration is looking to replace the federal government’s $700 billion internal expense card program, known as SmartPay, with a contract awarded to the private company Ramp. Ramp is backed by investment firms tied to Trump and Musk.

While administration officials insist that SmartPay is wasteful, both Republican and Democratic budget experts say that’s wrong, according to Bing and Asher-Schapiro. “SmartPay is the lifeblood of the government,” former General Services Administration commissioner Sonny Hashmi told the reporters. “It’s a well-run program that solves real world problems…with exceptional levels of oversight and fraud prevention already baked in.”

“There’s a lot of money to be made by a new company coming in here,” said Hashmi. “But you have to ask: What is the problem that’s being solved?”

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

#political cartoons #Matt Davies #Letters From An American #Heather Cox Richardson #DOGE #tariffs #Jerome Powell #The Fed #Harvard University

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materialsscienceandengineering · 2 months ago

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Controlling quantum particle states through structural phase transition of crystals

A research team has successfully fine-tuned the Rabi oscillation of polaritons, quantum composite particles, by leveraging changes in electrical properties induced by crystal structure transformation. Published in Advanced Science, this study demonstrates that the properties of quantum particles can be controlled without the need for complex external devices, which is expected to greatly enhance the feasibility of practical quantum technology. The team was led by Professor Chang-Hee Cho from the Department of Physics and Chemistry at DGIST. Quantum technology enables much faster and more precise information processing than conventional electronic devices and is gaining attention as a key driver of future industries, including quantum computing, communications, and sensors. At the core of this technology lies the ability to accurately generate and control quantum states. In particular, recent research has been actively exploring light-based quantum devices, with polaritons at the center of this field.

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cyberstudious · 11 months ago

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An Introduction to Cybersecurity

I created this post for the Studyblr Masterpost Jam, check out the tag for more cool masterposts from folks in the studyblr community!

What is cybersecurity?

Cybersecurity is all about securing technology and processes - making sure that the software, hardware, and networks that run the world do exactly what they need to do and can't be abused by bad actors.

The CIA triad is a concept used to explain the three goals of cybersecurity. The pieces are:

Confidentiality: ensuring that information is kept secret, so it can only be viewed by the people who are allowed to do so. This involves encrypting data, requiring authentication before viewing data, and more.

Integrity: ensuring that information is trustworthy and cannot be tampered with. For example, this involves making sure that no one changes the contents of the file you're trying to download or intercepts your text messages.

Availability: ensuring that the services you need are there when you need them. Blocking every single person from accessing a piece of valuable information would be secure, but completely unusable, so we have to think about availability. This can also mean blocking DDoS attacks or fixing flaws in software that cause crashes or service issues.

What are some specializations within cybersecurity? What do cybersecurity professionals do?

incident response

digital forensics (often combined with incident response in the acronym DFIR)

reverse engineering

cryptography

governance/compliance/risk management

penetration testing/ethical hacking

vulnerability research/bug bounty

threat intelligence

cloud security

industrial/IoT security, often called Operational Technology (OT)

security engineering/writing code for cybersecurity tools (this is what I do!)

and more!

Where do cybersecurity professionals work?

I view the industry in three big chunks: vendors, everyday companies (for lack of a better term), and government. It's more complicated than that, but it helps.

Vendors make and sell security tools or services to other companies. Some examples are Crowdstrike, Cisco, Microsoft, Palo Alto, EY, etc. Vendors can be giant multinational corporations or small startups. Security tools can include software and hardware, while services can include consulting, technical support, or incident response or digital forensics services. Some companies are Managed Security Service Providers (MSSPs), which means that they serve as the security team for many other (often small) businesses.

Everyday companies include everyone from giant companies like Coca-Cola to the mom and pop shop down the street. Every company is a tech company now, and someone has to be in charge of securing things. Some businesses will have their own internal security teams that respond to incidents. Many companies buy tools provided by vendors like the ones above, and someone has to manage them. Small companies with small tech departments might dump all cybersecurity responsibilities on the IT team (or outsource things to a MSSP), or larger ones may have a dedicated security staff.

Government cybersecurity work can involve a lot of things, from securing the local water supply to working for the big three letter agencies. In the U.S. at least, there are also a lot of government contractors, who are their own individual companies but the vast majority of what they do is for the government. MITRE is one example, and the federal research labs and some university-affiliated labs are an extension of this. Government work and military contractor work are where geopolitics and ethics come into play most clearly, so just… be mindful.

What do academics in cybersecurity research?

A wide variety of things! You can get a good idea by browsing the papers from the ACM's Computer and Communications Security Conference. Some of the big research areas that I'm aware of are:

cryptography & post-quantum cryptography

machine learning model security & alignment

formal proofs of a program & programming language security

security & privacy

security of network protocols

vulnerability research & developing new attack vectors

Cybersecurity seems niche at first, but it actually covers a huge range of topics all across technology and policy. It's vital to running the world today, and I'm obviously biased but I think it's a fascinating topic to learn about. I'll be posting a new cybersecurity masterpost each day this week as a part of the #StudyblrMasterpostJam, so keep an eye out for tomorrow's post! In the meantime, check out the tag and see what other folks are posting about :D

#studyblrmasterpostjam #studyblr #cybersecurity #masterpost #ref #I love that this challenge is just a reason for people to talk about their passions and I'm so excited to read what everyone posts!

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unwelcome-ozian · 5 months ago

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Weaponizing violence. With alarming regularity, the nation continues to be subjected to spates of violence that terrorizes the public, destabilizes the country’s ecosystem, and gives the government greater justifications to crack down, lock down, and institute even more authoritarian policies for the so-called sake of national security without many objections from the citizenry.

Weaponizing surveillance, pre-crime and pre-thought campaigns. Surveillance, digital stalking and the data mining of the American people add up to a society in which there’s little room for indiscretions, imperfections, or acts of independence. When the government sees all and knows all and has an abundance of laws to render even the most seemingly upstanding citizen a criminal and lawbreaker, then the old adage that you’ve got nothing to worry about if you’ve got nothing to hide no longer applies. Add pre-crime programs into the mix with government agencies and corporations working in tandem to determine who is a potential danger and spin a sticky spider-web of threat assessments, behavioral sensing warnings, flagged “words,” and “suspicious” activity reports using automated eyes and ears, social media, behavior sensing software, and citizen spies, and you having the makings for a perfect dystopian nightmare. The government’s war on crime has now veered into the realm of social media and technological entrapment, with government agents adopting fake social media identities and AI-created profile pictures in order to surveil, target and capture potential suspects.

Weaponizing digital currencies, social media scores and censorship. Tech giants, working with the government, have been meting out their own version of social justice by way of digital tyranny and corporate censorship, muzzling whomever they want, whenever they want, on whatever pretext they want in the absence of any real due process, review or appeal. Unfortunately, digital censorship is just the beginning. Digital currencies (which can be used as “a tool for government surveillance of citizens and control over their financial transactions”), combined with social media scores and surveillance capitalism create a litmus test to determine who is worthy enough to be part of society and punish individuals for moral lapses and social transgressions (and reward them for adhering to government-sanctioned behavior). In China, millions of individuals and businesses, blacklisted as “unworthy” based on social media credit scores that grade them based on whether they are “good” citizens, have been banned from accessing financial markets, buying real estate or travelling by air or train.

Weaponizing compliance. Even the most well-intentioned government law or program can be—and has been—perverted, corrupted and used to advance illegitimate purposes once profit and power are added to the equation. The war on terror, the war on drugs, the war on COVID-19, the war on illegal immigration, asset forfeiture schemes, road safety schemes, school safety schemes, eminent domain: all of these programs started out as legitimate responses to pressing concerns and have since become weapons of compliance and control in the police state’s hands.

Weaponizing entertainment. For the past century, the Department of Defense’s Entertainment Media Office has provided Hollywood with equipment, personnel and technical expertise at taxpayer expense. In exchange, the military industrial complex has gotten a starring role in such blockbusters as Top Gun and its rebooted sequel Top Gun: Maverick, which translates to free advertising for the war hawks, recruitment of foot soldiers for the military empire, patriotic fervor by the taxpayers who have to foot the bill for the nation’s endless wars, and Hollywood visionaries working to churn out dystopian thrillers that make the war machine appear relevant, heroic and necessary. As Elmer Davis, a CBS broadcaster who was appointed the head of the Office of War Information, observed, “The easiest way to inject a propaganda idea into most people’s minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized.”

Weaponizing behavioral science and nudging. Apart from the overt dangers posed by a government that feels justified and empowered to spy on its people and use its ever-expanding arsenal of weapons and technology to monitor and control them, there’s also the covert dangers associated with a government empowered to use these same technologies to influence behaviors en masse and control the populace. In fact, it was President Obama who issued an executive order directing federal agencies to use “behavioral science” methods to minimize bureaucracy and influence the way people respond to government programs. It’s a short hop, skip and a jump from a behavioral program that tries to influence how people respond to paperwork to a government program that tries to shape the public’s views about other, more consequential matters. Thus, increasingly, governments around the world—including in the United States—are relying on “nudge units” to steer citizens in the direction the powers-that-be want them to go, while preserving the appearance of free will.

Weaponizing desensitization campaigns aimed at lulling us into a false sense of security. The events of recent years—the invasive surveillance, the extremism reports, the civil unrest, the protests, the shootings, the bombings, the military exercises and active shooter drills, the lockdowns, the color-coded alerts and threat assessments, the fusion centers, the transformation of local police into extensions of the military, the distribution of military equipment and weapons to local police forces, the government databases containing the names of dissidents and potential troublemakers—have conspired to acclimate the populace to accept a police state willingly, even gratefully.

Weaponizing fear and paranoia. The language of fear is spoken effectively by politicians on both sides of the aisle, shouted by media pundits from their cable TV pulpits, marketed by corporations, and codified into bureaucratic laws that do little to make our lives safer or more secure. Fear, as history shows, is the method most often used by politicians to increase the power of government and control a populace, dividing the people into factions, and persuading them to see each other as the enemy. This Machiavellian scheme has so ensnared the nation that few Americans even realize they are being manipulated into adopting an “us” against “them” mindset. Instead, fueled with fear and loathing for phantom opponents, they agree to pour millions of dollars and resources into political elections, militarized police, spy technology and endless wars, hoping for a guarantee of safety that never comes. All the while, those in power—bought and paid for by lobbyists and corporations—move their costly agendas forward, and “we the suckers” get saddled with the tax bills and subjected to pat downs, police raids and round-the-clock surveillance.

Weaponizing genetics. Not only does fear grease the wheels of the transition to fascism by cultivating fearful, controlled, pacified, cowed citizens, but it also embeds itself in our very DNA so that we pass on our fear and compliance to our offspring. It’s called epigenetic inheritance, the transmission through DNA of traumatic experiences. For example, neuroscientists observed that fear can travel through generations of mice DNA. As The Washington Post reports, “Studies on humans suggest that children and grandchildren may have felt the epigenetic impact of such traumatic events such as famine, the Holocaust and the Sept. 11, 2001, terrorist attacks.”

Weaponizing the future. With greater frequency, the government has been issuing warnings about the dire need to prepare for the dystopian future that awaits us. For instance, the Pentagon training video, “Megacities: Urban Future, the Emerging Complexity,” predicts that by 2030 (coincidentally, the same year that society begins to achieve singularity with the metaverse) the military would be called on to use armed forces to solve future domestic political and social problems. What they’re really talking about is martial law, packaged as a well-meaning and overriding concern for the nation’s security. The chilling five-minute training video paints an ominous picture of the future bedeviled by “criminal networks,” “substandard infrastructure,” “religious and ethnic tensions,” “impoverishment, slums,” “open landfills, over-burdened sewers,” a “growing mass of unemployed,” and an urban landscape in which the prosperous economic elite must be protected from the impoverishment of the have nots. “We the people” are the have-nots.

The end goal of these mind control campaigns—packaged in the guise of the greater good—is to see how far the American people will allow the government to go in re-shaping the country in the image of a totalitarian police state.

#mind control #Mind control campaigns #weaponization methods #terms #definitions

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mariacallous · 27 days ago

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Self-driving vehicle developers don’t usually love talking about “teleoperation”—when a human guides or drives robot cars remotely. It can feel like a dirty secret. Shouldn’t an autonomous vehicle operate, well, autonomously?

But experts say teleoperations are, at least right now, a critical part of any robot taxi service, including Tesla's Robotaxi. The tech, though impressive, is still in development, and the autonomous systems still need humans to guide them through less-common and especially sticky road situations. Plus, a bedrock principle of safety engineering is that every system needs a backup—doubly so for new robotic ones that involve two-ton EVs driving themselves on public roads.

And yet, just days out from Tesla’s launch of its long-awaited (and much delayed) Robotaxi service in Austin, Texas, the public still doesn’t know much at all about its teleoperations systems. Tesla has posted a job related to teleoperations that states the role will be responsible for developing the application "that our Remote Operators use to interface with our cars and robots,” an application where these operators will be “transported into the device’s world using a state-of-the-art VR rig that allows them to remotely perform complex and intricate tasks.”

Alarmingly, several government spokespeople—representing the city of Austin, the state of Texas, and the US’s top road safety regulator—didn’t respond to questions about Tesla’s teleoperations. Indeed, Austin and the Texas Department of Transportation referred all our questions about Tesla technology to the company itself. Tesla, which disbanded its public relations team in 2020, didn’t respond to WIRED’s questions.

Last month, the National Highway Traffic Safety Administration, the country’s road safety watchdog, wrote a letter to Tesla posing questions about, among other things, how or if Tesla planned to use teleoperations. How will its human staff be expected to monitor, supervise, or even intervene when its systems are on the road? The government asked the company to respond by June 19, which will be after the service supposedly launches on June 12, according to reporting from Bloomberg earlier this month. NHTSA repeatedly would not respond to WIRED's inquiries into what it knows about Tesla's teleoperations.

The Los Angeles Times reported that humans used teleoperations to manipulate the robot Optimus during a “Cybercab” debut event in Los Angeles, and when Optimus showed off its new hands a month later, catching a tennis ball in mid-air, an engineer for the company acknowledged that humans similarly used teleoperations. The company also has a permit to test autonomous vehicles in California with a driver behind the wheel. The state has much stricter rules than Texas and requires some kind of “communication link” between testing vehicles and remote operators, so it’s likely the company has some kind of system.

While not shedding any light on exactly how Tesla's teleoperations will work in the city, Austin Transportation and Public Works spokesperson Cristal Corrales wrote in an email: “The City works with AV [autonomous vehicle] companies before and during deployment to obtain training for first responders, establish expectations for ongoing communication and share information about infrastructure and events.” Texas Department of Transportation spokesperson Laura Butterbrodt said in an emailed statement: “Texas law allows for AV testing and operations on Texas roadways as long as they meet the same safety and insurance requirements as every other vehicle on the road.”

Bedeviling this Robotaxi mystery is the fact that the autonomous vehicle industry hasn’t coalesced around a definition for “teleoperations.” So as Tesla watchers await the Austin service, it’s worth understanding a bit more about these teleoperations, and how they work.

The interior of Tesla's autonomous Cybercab taxi, showing the complete lack of physical controls—no steering wheel or pedals. Photograph: JONAS ROOSENS/Getty Images

A Little Help From My Friends

It’s worth defining some terms. What self-driving-car developers usually call “remote operations” refer to a few different sorts of human jobs. There are, first, the operators who deal with other humans. These are people trained to interact with autonomous taxi riders when they have questions or need assistance in an emergency. Alphabet’s Waymo, the undisputed leader in self-driving, has a big Support button on its in-car passenger screens, which can connect riders with these folks. These operators can also be people trained to interact with law enforcement or emergency responders when they need assistance.

Then there are operators who deal with the autonomous system. Some of these people may work in “remote assistance.” More confusion: Self-driving car developers give these tasks different names and titles. Amazon subsidiary Zoox uses “teleguidance”; the self-driving-truck developers at Aurora like “teleassistance”; Tesla appears to stick to “teleoperation”; Waymo calls these workers “fleet response agents.” Whatever they’re called, these humans are meant to guide the autonomous system when it needs help. A car might alert people, for example, when it has encountered a roadblock, like construction equipment; the remote assistant might suggest a lane change or a turn or even a quick dip onto a road’s shoulder to get around it.

These human assistants can also sometimes reroute an autonomous vehicle if its planned itinerary no longer makes sense—maybe a road is unexpectedly closed off for a street fair. They can also sometimes help the car identify objects that have, for whatever reason, confused its sensors: a plastic bag flapping in the wind or a traffic light (red or green?).Got a Tip?Are you a former or current Tesla employee or know more about the company’s Robotaxi operations? WIRED would like to speak to you. Using a non-work phone or computer, please reach out to reporter Aarian Marshall on Signal at aarianm.30

Remote assistance should be a part of every safe self-driving-vehicle program, says Philip Koopman, a professor at Carnegie Mellon University who studies autonomous vehicle safety. “The technology is not there for them to be able to handle everything, and that’s OK,” he says. Having humans operate in the background of autonomous systems, then, isn’t “cheating” at self-driving. It’s understanding the limits of today’s technology—and what it takes to run a profitable business based on self-driving cars.

Still, some remote assistance programs are safer than others, Koopman says. Some of that comes down to “triggers,” or how the system knows it needs help and turns to its human overlords. Is it the human assistant’s job to notice that the vehicle is stuck—or about to smash into something? Or is the onus on the vehicle to ask for aid? The safer bet, he says, is to train the technology to know when it needs intervention rather than relying on the vigilance of the human auxiliaries.

Asking for help can be very hard for people—but it might be harder for robots. That’s because autonomous systems must automatically provide the humans with everything they need to know to assist: what happened, where the vehicle is in space, and if there’s anything around it. Only then can the humans guide the robots.

A Tesla Cybercab prototype at a Tesla store in San Jose, California, in November 2024. Photograph: David Paul Morris/Getty Images

Humans in the Loop

If that sounds tough, even tougher—and more controversial—is “remote driving.” This is what most people probably think of when they hear “teleoperations”: Someone far away from the supposed self-driving car, behind their own steering wheel or joystick, piloting it like a long-distance RC car.

Remote driving has even more technical challenges. Ben Shukman should know—as an engineer at a startup called Phantom Auto that focused on remote driving, he believes he was the first to do it on public roads. The first issue is connectivity. “Your ability to drive a car without being in the car is only as stable as the internet connection that connects you to it,” he says.

But anyone who has called a friend on a long drive knows that networks drop in and out as you move in space. There are technical ways to knit together networks, but those aren’t foolproof. This leads to big issues with latency. So imagine the worst-case scenario: A robot car needs help navigating around an accident on a highway, a remote driver gets it moving, and then … the connection dies.

Another challenge in remote driving: Helping drivers understand the experience of driving without actually being in the car. It’s hard to understand how quickly the momentum is shifting, or how hard you’re braking if you’re not inside the car. Shukman says it’s possible to build a user interface that gives remote drivers a sense of what it’s like on the road, but this takes thought and time.

For these reasons, Shukman says, remote driving is less than safe in environments where vehicles are moving quickly in unpredictable environments, even above a handful of miles per hour. Today, the technique is mostly used in public to get delivery robots out of jams. Those move so slowly that a few milliseconds of dropped connection likely won’t spell disaster. The startup where he worked, Phantom Auto, eventually pivoted to operating forklifts remotely in warehouse settings. (It shut down last year, but its founders are sticking with its thesis: Their new startup keeps humans “in the loop” by building a platform that allows people to easily intervene to help in AI search.)

The Tesla Question

If Tesla does make good on its promise to start its Robotaxi service in Austin this month, how will it handle teleoperations? A Morgan Stanley research note from its head of global autos and shared mobility research Adam Jonas claims the service will be heavily teleoperated, though Tesla has not confirmed any of this.

The job posting for software engineers working in teleoperation on “Optimus & Robotaxi” explicitly says the company’s remote operators will be “transported into the device’s world using a state-of-the-art VR rig” that will supposedly let them remotely execute intricate tasks requiring some form of human involvement. This sounds more like remote driving—direct intervention with the driving task—than remote assistance.

If Tesla’s remote operators are meant to closely monitor its Robotaxis’ systems, “I think it’s going to be very difficult to expand beyond a few vehicles and a small area,” says Koopman, the professor. Or at least, to do it safely.

In fact, that’s what CEO Elon Musk has said—that Tesla’s Robotaxi launch will start with just 10 to 20 cars and will expand from there. Maybe there will be some robots. But the better questions are what the humans supporting them will be doing—and whether they’ll be doing it safely.

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love-and-deepspace-wiki · 3 months ago

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Cogitatio Technologies

Location: Linkon City

Details:

Cogitatio Technologies is a company with important Protocore technology and serves as one of EVER's main chip suppliers. Notably, the findings of a recent internal investigation discovered that one of the company's employees was involved in corporate espionage. Information about this case can be found below.

Identified Employees/Operatives:

Caspian: Anti-Fraud Specialist, Criminal Investigation Department

Reggie: IT Expert

Identified Departments:

Criminal Investigation Department

Finance Department

Security Center

The Corporate Espionage Case:

Recent security scans had detected unusual browsing activity within the company's internal network. It had been present for four months, but the perpetrators identity remained untraceable. Due to serious concerns about corporate espionage, the Security Center posted a commission on Abyssal Chaos with orders to identify the targer, carry out "permanent neutralization", and avoid causing unnecessary panic within the company. Additional Abyssal Chaos credits were offered for uncovering secrets the target might have leaked or hidden and rewards would be doubled if they identified any accomplices within their intelligence network.

A professional intelligence agent with the codename "Apate" accepted the commission and, after a year of observation, identified twelve employees whose lifestyle's "didn't match their reported assets" and suggested hidden income sources. They eventually narrowed these twelve suspects down to four suspects:

"Janitor A"

"Quality Control Specialist B"

"Administrative Officer C"

"Executive Secretary D"

"Executive Secretary D" became the primary suspect after attending an industry forum. At the forum, the secretary and a competitor's representative entered the same restroom five minutes apart and stayed inside for over ten minutes.

After "Apate" reported their findings, the "Executive Secretary D" was taken in by the Security Center. While the details of their interrogation were unknown, Cogitatio Technologies confirmed their request had been completed successfully and awarded "Apate" twice as many credits.

#love and deepspace #lads #lads linkon city #linkon city #love and deepspace cogitatio technologies #lads cogitatio technologies #love and deepspace companies #lads companies

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just-another-josh · 2 years ago

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Kara

Today is a good day.

No, today is a great day.

Lena continued to remind herself of that over the course of the last two hours.

It was an incredibly important day for her and her wife. Not just that, it was an important day for their family’s legacy. Today was one of those milestone days, the type that signified potential fully realized, the recognition of years of hard work and achievement. A cause for celebration with champagne, victory speeches, and overindulgent parties.

Lena knew this, she believed this.

And yet, all she wanted to do right now was punch Cat Grant in her stupid, Botoxed face.

Four months ago, Cat pulled Kara aside after a CatCo staff meeting and informed her EIC that she intended to run for president in the next election. “If a Cheeto-skinned, glorified game show host can become President of the United States, I should be a shoo-in,” she had reasoned with her. In order to avoid any blind trust complications and because presidential campaigns are very expensive, Cat decided to put CatCo Worldwide Media up for sale.

Lena was greeted by an ugly-crying Kryptonian when she arrived home that night. Cat’s departure was a double blow to her wife: Not only was Kara losing her mentor, but now she had to contend with a new owner who may or may not share the same journalistic integrity as Cat. Nightmares of another Andrea Rojas or Morgan Edge-like monster lording over the bullpen kept the hero up into the early morning hours after Cat dropped her bombshell.

Lena made a solid effort to reassure her wife that everything would work out for the best but when the company was put on the market the next Monday morning, the announcement quickly led to Lena’s assurances becoming hollow promises.

By the end of the week, the bidding war for the media giant had been whittled down to three frontrunners:

Roland Daggett: owner of Daggett Industries with reported ties to organized crime in Gotham.

Simon Stagg: owner of Stagg Enterprises who was currently involved in no-less than a dozen federal investigations for improper disposal of waste generated from his chemical plants.

The final bidder was no stranger to National City or the Superfriends; Maxwell Lord: owner of Lord Technologies and an all-around asshole, who appeared to have crawled out from whatever rock he’d been hiding under.

Lena knew that none of these parasites gave a damn about the fourth estate, nor would they want Supergirl watching over their shoulders while they engaged in whatever reprehensible activities men of their caliber got up to. Lena had no doubt that they’d use CatCo to steer whatever narratives that would profit them the most; much like Morgan Edge intended to do six years prior.

Bottomline, Kara was going to be out of a job if any of those criminals got their hands on CatCo.

Kara did everything she could to talk Cat out of selling to any of them, but Cat had no other viable candidates to sell to. Kara spent the better part of ten days straight trying to get Cat to see reason but was met with failure at every turn. Lena watched Kara sink further into depression as the days passed and it broke her heart.

On day eleven, Lena had had enough of watching her wife suffer. She had Jess arrange an emergency meeting with her finance and mergers/acquisitions department heads. There was only one item of business on the agenda, did L-Corp have enough in its coffers to purchase CatCo. She knew acquiring the media giant was going to cost a lot more than it did when she stole it out from under Morgan Edge. Luckily, the answer was a resounding yes. Since regaining her position as CEO of L-Corp, Lena had led the company to an unprecedented level of profitability. A proposal was quickly drafted. The minutia of the proposal was almost identical to the last time L-Corp purchased the conglomerate, save for one big difference: Kara, not Lena, would be named CEO of CatCo Worldwide Media; not just the print media, but TV, streaming, and online content.

Proposal in hand, it took Lena the better part of the evening (and early morning) to convince her wife that she was fully capable of doing the job. Hell, she’d been doing it for the last eighteen months as Cat became less involved in the day-to-day operations. Kara’s objections to Lena spending Lena’s money to save Kara’s job were quickly shot down, “You forget darling, it’s not my money, it’s our money. We’re married, what’s mine is yours and what’s yours is mine, you dork.” Finally seeing the light, Lena sent her wife to deliver the proposal directly to Cat; it took her less than twelve hours to accept their offer and approve moving forward with the sale. To say that she was relieved that L-Corp, and by extension Lena and Kara, would be running the company that she built with her own blood, sweat, and tears would be an understatement.

Now, Lena sat in CatCo’s executive conference room. Kara seated to her right, Jess to her left, and half of L-Corp’s legal department bracketing them. On the other side of the table, Cat, and her legal team. Lena had been fortunate enough to avoid attending the negotiation meetings in person; instead choosing to have her attorneys there as her proxies. Occasionally, she’d join the proceedings remotely whenever her two cents was needed. Today, however, was the big day. All the principles needed to be on-hand to sign the final contracts. Lena was initially excited to finalize the deal; if for no other reason than to see the beaming smile her wife had been sporting all day turn brighter than the sun.

Her excitement was quickly tempered when they stepped into Kara’s office and were greeted by Cat with a “Good morning, Mrs. Luthor. Good morning, Kiera.” Lena would have done a spit-take had she been drinking anything at the time. For a moment, she tried to convince herself that she had misheard her. That theory was quickly thrown out the window when Cat called Kara “Kiera” three more times before they reached the conference room. By the time they sat at the conference table to go over the final details before signing, Lena was seething.

After taking several deep breaths and getting her blood pressure under control, Lena tried to mentally talk herself down from doing or saying anything rash. It wasn’t the first time she’d heard Cat address Kara by that name, but it was the first time that it got under her skin. Why? Hormones. She was five months pregnant with twin Kryptonian girls.

For the most part, the pregnancy had been uneventful; after the hell that was first trimester, of course. She’d adjusted to the rollercoaster of emotions, eating 15,000 calories a day to keep her and her baby girls nourished, and the near constant fatigue. Most days, she basked in the experience of being an expectant mother; the flutter of kicks throughout the day, impeccable hair and skin, an insatiable libido, and a doting wife that would fly anywhere in the world to satisfy her food cravings. Yep, without a doubt, the second trimester had been treating Lena well.

Except for today.

Today, her lower back was killing her.

Today, her ankles were obscenely swollen.

Today, the twins were using her bladder as a trampoline.

Today, she felt like a swollen, bloated, beached whale.

Today, Lena had a short fuse, and Cat had no idea how close she was coming to lighting it.

As was standard practice for Lena with all business-related deals, she insisted on reading the final contract cover-to-cover before signing. Although she trusted her legal team, she refused to agree to any contracts that she herself hadn’t personally vetted. Her lawyers had been with her long enough to take their boss’ anal retentiveness in stride, fully understanding that it did not reflect on the quality of their work. While Cat herself remained non-plussed by the delay, her attorneys did a poor job of hiding their impatience. Picking up on the tension in the room, Lena’s senior attorney suggested that both legal teams take an early lunch and after receiving nods of approval from both Lena and Cat, the two teams exited the conference room.

Shortly thereafter, Jess received a text that appeared to be of an urgent nature. After receiving an ‘OK’ from Kara to use the Kryptonian’s office, she swiftly exited.

Kara and Cat continued to make small talk while Lena scoured the sales agreement line-by-line; occasionally securing her black, thick-rimmed glasses when they inched down her nose. Reading the contract had managed to curb her murderous thoughts; allowing her to convince herself that she was overreacting to Cat’s flippant disrespect towards Kara. She reminded herself that this was something Kara found perfectly acceptable, and if the time came when her wife did have a problem, she was more than capable of speaking up for herself. Lena took a deep breath and consigned herself to let bygones be bygones and drop the matter altogether.

Until…

“So, Miss Grant, I assume that once you’re elected, you’ll be giving us an exclusive post-election interview?” Kara playfully asked.

“Now, now, Kiera. As the president-elect I am obligated to give equal time to all media outlets. I mustn’t show any favoritism,” Cat said in a patronizing tone as she waved her finger at Kara as if she were chastising a small child.

Fuse officially lit.

“Darling, I am simple starving. I could really go for a Philly cheesesteak sandwich from that place we found in mid-town,” Lena said through a strained smile; trying her best to hide the anger coursing through her veins.

“D’Elia’s?” As Lena had predicted, Kara was predictably excited by the suggestion.

Lena nodded. “Yes, that’s the one.” She locked yes with her wife for the briefest of moments before averting her gaze back to the contract in front of her.

Kara’s face shifted from excitement to suspicion quickly, now focusing intently on her wife. Lena knew the Kryptonian was probably using her enhanced senses to see or if something was up. Lena cursed herself for thinking she was going to be able to hide her agitation, knowing full well that her wife would hear her increased heart rate and her uneven breathing. Lena blushed under Kara’s scrutiny and offered up her best smile.

Kara clearly wasn’t buying it. “Nahn rraop voi?” she asked with concern in her voice.

“Ju nim voi,” Lena reassured her. She leveled Kara with a look that told her to drop it.

Appearing to take the hint, Kara subtly nodded. “Funyuns too?”

Lena stared at her wife incredulously with a raised eyebrow. “Is that a legitimate question?”

Kara held up her hands in mock surrender. “A thousand pardons.” She turned to Cat. “Can I get you anything, Miss Grant?”

Cat rolled her eyes and scoffed, “Please, Kiera. In all the years you were my assistant, did I ever order anything as vile as a cheesesteak sandwich?”

Lena had to suppress the growl bubbling in her throat. She removed her glasses and massaged her temples in the vain hope that she could stave off the headache that could feel coming.

“A salad with a cheeseburger on top of it is somehow different?” Kara leveled Cat with a snarky smile. A deadpan look settled on Cat’s face. Kara shook her head. “They have salads…yogurt dressing and all.”

Cat seemed to perk up at this news. “Well, in that case, I’d love a salad.”

Kara nodded and turned her attention to Lena. She bent down and placed a chaste kiss on her wife’s forehead before super-speeding out of the room; Lena anchoring the papers in front of her to keep them from scattering.

As the breeze from Kara’s speedy departure subsided, Lena let out a long breath. After quickly organizing her thoughts, she straightened her posture and locked eyes on the woman across the table, sizing her up like a lion would a gazelle. Cat shifted uncomfortably in her chair, clearly unnerved by the intense look in Lena’s eyes, yet defiantly maintaining eye contact.

“Penny for your thoughts, Mrs. Luthor?” Cat said pointedly.

Lena folded her hands on the table, leaned forward, and using her well-honed CEO voice said, “I was just thinking about the remarkable difference in CatCo’s current market value compared to what I paid for it in 2017. Remarkable considering you purchased it from Andrea no less than three years ago for $250 million less than I paid for it.”

“The last three years have been very successful,” Cat said, clearly gloating. “And in all honesty, CatCo’s dismal market value three years ago was a direct result of Miss Rojas’ incompetence. The woman had no business being a journalist, she’s better suited to run some kind of multi-level marketing scam.” Cat scrunched up her nose like she’d smelled something foul.

Lena couldn’t argue, she wholeheartedly agreed with Cat’s assessment of Andrea. The woman had no concept of ethical business practices, let alone journalistic integrity. Lena was well aware that Andrea would run CatCo into the ground when she offered to sell it to her. Lena was more concerned with pissing Kara off at the time. A brief surge of guilt overcame her for the briefest of moments. Although she and Kara had long ago forgiven each other for their respective transgressions during their year-long schism, Lena still promised herself she would do something nice for the hero when they got home this evening as an unspoken “I’m sorry”; most likely something that would make her wife’s toes curl.

“Still, it’s amazing what you’ve been able to accomplish in such a short amount of time.” Lena praised.

“Thank you.” Cat seemed pleased with the compliment…and herself.

Lena leaned in closer to Cat. “So, tell me, owner to owner, what’s the secret? How in the hell did you turn a sinking ship worth $500 million into what Kara and I are shelling out $1.4 billion for?”

The question clearly threw Cat for a loop, her eyes flitted around the room as she considered her response. “Well, you can’t be afraid to ruffle a few feathers. People don’t like the truth sometimes, but that’s the responsibility of a free press, exposing people to the ugly truths that surround them.” Cat’s smile regained its cockiness. “Accuracy is more important than expediency; being right is always better than being first.”

“I have firsthand experience in that regard,” Lena sighed bitterly.

A look of recognition passed over Cat and she nodded benevolently. “That’s right. Your mother’s escape.” Cat shook her head and snorted in disgust. “I should have fired both Snapper and Jimmy for their incompetence.” Cat quirked her head questioningly. “I must say I was quite shocked when I heard you and Jimmy were an item at one point given his…negative opinion of you in those early days.”

“I still am shocked at my utter stupidity.” Lena grimaced. “Luckily it wasn’t a permanent affliction.”

Cat said nothing in response to Lena’s lamentation and the two sat in comfortable silence. Cat’s features softened and her lips slid into a warm smile. “That whole mess perfectly illustrates why competent leadership is so important. A good EIC would have put a stop to their recklessness.”

Thankful for the opportunity to shift the focus away from her relationship with James, Lena quickly replied, “I heard Kara tried to stop them.”

Cat’s smile took on a thoughtful appearance, a glimmer of fondness shown in her eyes. “That’s what makes her so remarkable. Even then, with only a few months’ experience under her belt, she still stood up to those jackasses. Her internal compass told her that something wasn’t right, and she refused to let her inexperience stop her from speaking up.” Cat’s look of pride was matched by Lena’s. “That’s what a competent leader does, sticks to their guns even when those in power tell them they’re wrong.”

“So, you think Kara a logical pick for CEO?”

“Absolutely,” Cat responded passionately. “Credit where credit is due, she’s been singlehandedly running the company for over a year now. She’s been performing tasks well beyond her job title and doing a damn fine job in the process.”

“So, would you say Kara has earned your trust and respect?” Lena set her trap.

“Unequivocally,” Cat said with no small amount of adoration, but her features quickly took on an aura of incredulity. “If I didn’t know any better Mrs. Luthor, I’d say you’re having doubts about putting your wife in charge.”

A feeling of pure satisfaction and anticipation surged through Lena as she now had Cat cornered, though she showed no signs of it, her poker face was impenetrable. (There’s a reason poker had been banned from Game Night, Lena could out-bluff everyone)

She almost felt sorry for the older woman.

Almost.

“No, Miss Grant, I have no doubts regarding Kara’s ability to run CatCo. I’m just confused.”

“About what?” Cat asked with an annoyed tone.

“I’m glad you asked.” The smile that spread across Lena’s face could only be described as sinister. “You compliment Kara’s leadership skills. You say that she is the best choice to run CatCo. You say that you trust her. You even go so far as to say you respect her.” Cat nodded, a look of absolute confusion on her face. “And yet, you continue to disrespect her on a daily basis, both privately and publicly.”

Cat sat silently, eyes the size of saucers and her mouth agape.

“What’s my wife’s name, Miss Grant?” Lena asked in an even tone.

Cat stared at Lena as if she was speaking a foreign language. Lena continued. “’Kara’. Say it with me, ‘Kara’.” Lena enunciated phonetically, making no attempt to hide the disdain in her voice. “K-A-R-A. If you’d like, I’d be happy to write it down in crayon for you.”

Cat was clearly flabbergasted, evidenced by her complete lack of response.

Lena took a deep, centering breath; her anger ebbing away ever so slightly. “Miss Grant, I don’t know you that well. When I met Kara, she spoke almost to the point of reverence about you. It became very clear early in our friendship that you were very important to her, so when you came back into her life, I viewed it positively.” Cat seemed to relax at the shift in Lena’s mood, her features loosened as she followed Lena with rapt attention.

Lena continued, her voice tinged with melancholy, “My opinion soured the first time I met you.” Cat looked at her questioningly, Lena rolled her eyes in response. “Our bridal shower,” Lena deadpanned. Cat gave a slight nod. Lena shook her head and continued, “As I was saying, our bridal shower was the first time I heard you call Kara ‘Kiera’. I just assumed I’d misheard you and let it go. When you called her ‘Kiera’ at our bachelorette party, I figured you’d had too much to drink. When you called her ‘Kiera” at our wedding, the only reason I didn’t cast a spell that would make all your hair fall out is because…well…it was our wedding, and I wasn’t going to ruin the day.”

Cat seemed to sink a little further into her seat as Lena listed off each slight, her face stoic.

“My favorite was the night Kara was awarded her second Pulitzer. You did such a beautiful job during her award presentation. Hell, you even introduced her using her proper name,” Lena paused, a look of mock astonishment on her face. “But no more than two seconds after she stepped off the stage, you called her by that goddamn name again!” Lena, face dusted pink, slammed her fist on the conference table, startling Cat.

Her anger rising, Lena gave Cat no time to recover as she leveled her index finger at the clearly unsettled blonde. “Kara is an extraordinary woman. She has saved this planet both as a writer and Supergirl. For fuck’s sake, she saved the universe from being wiped out of existence! Do you have any idea the enormity of something like that? I assure you, you do not.” Lena slowly rose from her seat and leaned over the table, hovering over a floored Cat. “She is a daughter, a sister, an aunt, my wife, the mother of my unborn children, and goddamn superhero for Christ’s sake! You will show her the respect, grace, and compassion that she is owed. You will commit to me right here and now that you will never, EVER, call her ‘Kiera’ again.” Lena picked up the contract and shook it in Cat’s face. “And if you fail to agree to that, I will burn this and piss on the ashes!” Lena mic-dropped the stapled papers.

Cat, wide-eyed and mouth agape once more, stared blankly at the discarded contract. Lena, satisfied with her tirade (for now), gently lowered herself into her seat. She retrieved her glasses and put them on. After grabbing the contract from its resting place on the conference table, she thumbed through the pages until she found where she left off and resumed her reading.

Lena was content to sit in silence while Cat continued to process what had transpired. She felt a great deal of satisfaction being able to defend her wife, even if it meant the deal might fall through. Lena knew that Kara would be devastated if she had to leave CatCo, and as much as Lena wanted to spare her wife from a broken heart, there was no way in hell she was going to let anyone disrespect her. If worse came to worst, they could buy a smaller publication and build from there; Lena feeling confident that any media organization run by Supergirl would garner a sizeable following, not to mention Kara’s skills as a publisher.

“Have you ever met Perry White?” Cat’s passive voice broke through the silence.

Lena set the contract back on the table, removed her glasses, and studied Cat for a moment. As far as Lena could tell, there was no trace of hostility or arrogance in Cat’s appearance. Lena had no idea why Cat was bringing up the former Daily Planet editor. Her curiosity peaked, she decided to follow Cat down whatever rabbit hole she was leading her. “No, I can’t say I’ve had the pleasure. Though I’m not too broken up about it seeing as how he was more than happy to label me as the anti-Christ after Lex was sent to prison.”

“The man was a pig,” Cat said, a slight tremble in her lips. “When I first started at the Planet as his assistant, he insisted on calling me ‘Caity’.” Cat paused, apparently waiting for some type of response from Lena; a raised eyebrow was all she received. “This went on for weeks. ‘Caity! Coffee, black! Caity, where’re my cigars? ‘Caity, get off your ass and get me some lunch!’. Until one day, I psyched myself up enough to correct him. He told me that he knew what my name was, but he didn’t care. From that point on, he started calling me ‘Caity-Cat’.”

“Did you report him to HR?” The look on Lena’s face was ice-cold, but the hint of warmth in her voice belied a touch of sympathy.

Cat scoffed, “God no. Filing a complaint against the EIC for one of, if not the largest newspaper in the United States would have been career suicide.” Lena could only shake her head in disgust, Cat nervously fiddled with her fingers and huffed, “It was a barbaric time. The entire industry was run by a bunch of testosterone-laden animals.” Cat chuckled quietly. “It’s unfortunate Perry retired before the Me Too movement, I would have loved to have watched him get skinned alive.”

Lena couldn’t help the snort that escaped her. Cat grinned brightly at her reaction. Lena quickly regained her composure and dramatically cleared her throat. “So how did you deal with it?”

“I used it,” Cat said confidently. “Every time I heard the name ‘Caity-Cat’, I used it as motivation to push for a better career. I made a vow that I would make such a name for myself that that son of a bitch would have no choice but to show me the respect I deserved.” Lena could see a flash of steely determination in Cat’s eyes. “Come hell or high water, I would prove that I was worthy of his notice.” Cat swallowed thickly, her eyes becoming glassy.

Lena picked up on the bitterness in Cat’s voice. She could see how much the memories of her time under Perry White pained her. She couldn’t help the swell of sympathy generated by Cat’s remembrances. Whether she liked it or not, Lena felt a kindred spirit in Cat. Both had navigated a world heavily dominated by misogynistic, deplorable men who did everything in their power to ensure their failure. She understood Cat’s motivation to prove that she belonged in that world, no matter its futility.

“Did you ever accomplish your goal?” Lena asked, already knowing the answer.

“In a way.” Cat thinned her lips, a far off look on her face. “A year after I got CatCo off the ground, I ran into Perry at some awards dinner. By happenstance, serendipity, or whatever the hell you want to call it, we went to get a drink at the bar at the same time. I said hello, and he grunted out ‘Catherine’.” Lena shrugged her shoulders and shook her head, unsurprised by the man’s apparent apathy. Cat grinned playfully, clearly feeling like she swallowed the canary. “But by then it didn’t matter. I’d grown far beyond needing his respect or approval. By that time, I had already accomplished more than that sack of shit ever could. I didn’t want, didn’t need a damn thing from him.”

Lena let Cat relieve her triumphant moment, happy in the knowledge that Cat was able to realize her self-worth without needing validation from anyone else.

“So, is that why you scall my wife ‘Kiera’? In some misguided attempt to motivate her?” Lena’s gaze bore into Cat with an intensity greater than Kara’s heat vision. “Because from where I’m sitting, it seems history repeating itself.”

Cat blanched at Lena’s assertion; a barely perceptible shiver ran the length of her spine. Cat let out a long breath before meeting Lena’s probing stare before answering wistfully. “When she started as my assistant, maybe…but I think it got to the point where I wasn’t even aware I was doing it.” Cat looked away from Lena, clearly angry with herself. She fell back into her chair with an unceremonious thud, her shoulders sagging defeatedly. “But it really doesn’t matter, still makes me a hypocrite.”

Lena answered Cat’s unasked question with a raise of her eyebrow and a slight tilt of her head.

Cat folding her hands on the conference table and leaned closer to Lena. “Please understand, I am so proud of Kara. She has exceeded every expectation I could possibly have of her. She has grown into a remarkable woman; and it has nothing to do with the cape and tights. She engenders trust and respect to a level I have never seen before. I’m used to my staff going above and beyond because they’re scared of me, but her, they do it because they adore her.” Cat’s eyes were glassy with unshed tears.

Lena’s features softened at Cat’s admission, a warm sense of satisfaction blooming in her chest. She started feeling the slight sting of welling tears in her eyes after hearing such kind words about her wife. Stupid pregnancy hormones.

There might be hope for Cat yet. At the very least, she’d avoid tasting Lena’s fist.

“Have you considered telling her that?” Lena pointedly asked.

Cat grinned sadly through trembling lips. “I feel like that ship’s sailed,” Cat said with a shaky voice. “How…when…I mean…I wouldn’t even know where to begin.”

Lena didn’t even try to hide her enjoyment watching Cat ramble. “One, it’s never too late, two, use your words, and three, there’s no time like the present.” Lena motioned towards the closed door leading to the bullpen. Cat looked at the door confused. “Kara, I know you’re listening. You can come in now,” Lena said quietly.

Before Cat could react, the door opened and a sheepish looking Kara entered the conference room, two flimsy cardboard boxes filled with wrapped sandwiches and bags cradled in her arms. She set the boxes down and turned to face her wife. “I wasn’t listening.” Lena leveled Kara with an arched eyebrow in response, Kara quickly folded under her wife’s stare. “Well, I didn’t listen to everything.”

“Do tell, zrhemin.” Lena suppressed a grin.

Kara made to adjust glasses that weren’t there, quickly shifting to scratch her cheek. “Fine. I’ve been listening since ‘piss on the ashes’”. But in my defense, I could hear your heartrate was elevated and I got worried.”

Satisfied, Lena shrugged. The color had seemed to drain from Cat’s face after Kara’s confession, her eyebrows hitting her hairline. An awkward silence followed. Cat and Lena appeared to be in a stare down while Kara tried to avoid looking either one in the eye. Lena emerged as the victor of the silent battle; Cat turned to face Kara. Kier…Kara, I owe you an apology…”

“Miss Grant, you don’t have to apologize,” Kara cut her off with a wave of her hand.

“No, Kara, I do.” Cat took a focusing breath and swallowed thickly. “Your wife is right; I haven’t always been very nice to you. I’ve been disrespectful, callous, and sometimes, downright abusive; none of which you’ve deserved.” Kara was beaming as Cat spoke, now the third person in the room being brought to tears. “Sufficed to say, I will work harder to…be more positive with my feedback…and, at the very least, call you by your given name.”

Cat hesitantly approached Kara and after an awkward amount of positioning, embraced her in a tight hug. The floodgates opened and all three women had tears streaking their faces: Cat and Kara for obvious reasons, and Lena…well…goddamn hormones!

Kara and Cat pulled back from their embrace and messily wiped away their tears, a few sniffles coming from both women. “Thank you, Miss Grant. I accept your apology,” Kara said, a slight tremble in her voice.

Cat smiled at her warmly. “Kara, I think at this point you can call me Cat.”

Kara gasped in shock before devolving into clapping and squealing excitedly. “Ok…Cat,” she said with an overdramatic swagger.

Cat and Lena exchanged an eyeroll but didn’t comment on the Kryptonian being a spastic dork.

Cat leveled Kara with her best boss-stare, quickly pulling the hero out of her giddiness. “That is until I win the election. Then you’ll have to address me as Madame President.”

#supercorp #supercorptober2023 #kara danvers #lena luthor #cat grant

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aleksiej · 7 months ago

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what do wayne enterprises actually make/do?

(information found on the wiki)

main departments of Wayne Enterprises:

Wayne Tech - technology of any kind. retrieves and researches alien tech.

Wayne Biotech - entirety of gotham's healthcare, besides it's sister department mentioned later. makes medicine, looks for cure for cancer and is actively cloning body parts for transplants. researches brain surgery advancements, aids, hiv and reconstructive plastic surgery.

(funnily enough, no association with arkham or any psychological field of study)

Wayne Foods - focused on natural food with no man-made additions, organic and healthy and all.

Wayne Shipping - superbat, but also freighters and a massive amount of transportation of stuff. one of the biggest transportation companies in the world of dc.

Wayne Steel - steel mills and metal refineries, also work with alien tech. supplies ingredients for shipbuilding and the us navy (booooo!)

Wayne Shipbuilding - make commercial, luxury and military ships. again, close ties with us navy. they also repair a lot of ships, apparently.

Wayne Aerospace - full-on luxury private jets, but also makes research ones for nasa and, once more, aids us military.

Wayne Chemicals - research and development focused, deals in petrochemicals and alternative fuel sources.

Wayne Industries - industrial division for everything, from cars to clothes. works to be more green-friendly in their manufacturing business. has been reported to be mining gold and precious stones in africa, which is... hopefully unrealistically good for everyone involved. this is fiction, after all.

Wayne Medical - while Wayne Biotech focuses more on research, Wayne Medical focuses on treating diseases. it's the branch that runs most of gotham's hospitals.

Wayne Electronics - makes everything electronic, from a portable radio to satellites in space.

Wayne Entertainment - owns arenas and stadiums in gotham and metropolis (!), also work with multimedia providers and modeling agencies.

Wayne Institute - reportedly a "think tank" for people to figure out future problems. very important in gotham's development process.

Wayne Research Institute - researches anything and everything.

Wayne Foundation - funds scientific research and works with victims of crime and all of the gotham issues. world's biggest charity. provides all the types of help that batman himself cannot, just beating people up.

Thomas Wayne Foundation - free healthcare, gives out annual awards for medical research.

Martha Wayne Foundation - runs orphanages, soup kitchens and free schools, supports the arts and artists, sponsors a firm that helps lost people find each other.

i have not written it down, but every single one of those categories of Wayne Ent has a way it helps batman do his vigilante thing. it's on the wiki. i was reading about the history of Wayne Shipping and PAAL, when there's a sentence like "batman uses it to know everything about trafficking and smuggling and drugs" and then it continues like normal. lmfao.

#i don't have a point i just want to sleep #batman #batfam #wayne enterprises

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beardedmrbean · 6 months ago

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Jan. 3 (UPI) -- A string of announcements about big investments in nuclear energy production signal a revival for the industry that already produces about 20% of U.S. electricity.

Google, Microsoft and Amazon are among the technology companies looking to nuclear power to produce energy with a smaller carbon footprint. Environmental organizations remain skeptical, if not outright opposed to the use of nuclear energy.

Disasters at nuclear plants in Chernobyl in 1986 and the Fukushima Daiichi plant in Japan in 2011 play a large role in the minds of opponents.

"Anyone who thinks the public perception is overwhelmingly pro-nuclear is probably kidding themselves," Dr. Lane Carasik, assistant professor in the Virginia Commonwealth University Department of Mechanical and Nuclear Engineering, told UPI. "A lot of work needs to continue to be done by organizations to make sure the public is appropriately informed about the benefits and dangers of nuclear power. There are both."

The benefits touted by companies making the investments and the U.S. government center around reducing carbon emissions. This goal has been a crucial point of emphasis for the Biden administration in the face of increasingly destructive and frequent extreme weather events around the globe.

The U.S. Department of Energy announced in October it is opening applications for $900 million in funding to build small modular nuclear reactors. The program is part of the Bipartisan Infrastructure Law that passed in 2021.

"Revitalizing America's nuclear sector is key to adding more carbon free energy to the grid and meeting the needs of our growing economy -- from A.I. and data centers to manufacturing and healthcare," Jennifer M. Granholm, U.S. secretary of energy, said in a statement.

Earlier in the fall, the Biden administration announced the approval of a $1.52 billion loan to restart the Palisades nuclear plant in Covert Township, Mich. It would be the first restart of a nuclear plant once believed to be permanently out of commission in U.S. history.

Carasik said he is not surprised that the government is playing a role in revitalizing the nuclear energy industry. Along with the need for a diverse slate of energy sources, he said it is imperative that the United States nurture the field of nuclear science or risk losing experts to other countries.

"If we do not train in nuclear science-adjacent fields, we could lose them potentially to other countries and potentially to adversarial countries," Carasik said.

Support for nuclear energy has been burgeoning in Michigan even prior to the announcement.

A bipartisan, bicameral caucus was formed in the state legislature. The state has agreed to put $300 million toward the Palisades restart. The Michigan Chamber of Commerce and Gov. Gretchen Whitmer have also called it a positive development.

Holtec International, the company that purchased the Palisades plant in 2022, has agreed to sell a portion of the energy it produces to Hoosier Energy in Indiana.

The plant is capable of producing 800 megawatts of electricity, enough to power about 800,000 homes. More capacity may be coming as Holtec International is developing two small modular reactors to be built near the Palisades plant capable of producing 300 megawatts each.

That additional energy will be needed as Microsoft and telecommunications company Switch eye building new data centers in western Michigan, according to Ed Rivet, executive director of the Michigan Conservative Energy Forum.

Existing data centers consume about 4% of all electricity generated in the United States. That need is expected to more than double by 2030 as more data centers are constructed, according to the Department of Energy.

"It's pretty shattering from a paradigm sense, seeing companies like Google (request for proposal) to the private sector 'Will you build a nuclear plant next to our data center?'" Rivet said.

The investments from the tech industry play a large role in the recent nuclear resurgence. Energy hungry data centers will require a reliable energy source. Rivet's organization calls for an "all of the above" approach to powering the nation's grid, including wind and solar energy. He believes nuclear energy must be part of that equation as well.

Unlike wind and solar, nuclear energy is produced on a constant basis regardless of the elements. Nuclear energy has no carbon footprint and its physical footprint -- the land a nuclear plant sits on -- is drastically smaller than the land covered by solar panels to produce the same amount of energy.

Christopher Ortiz, senior communications specialist with Kairos Power, told UPI that energy density is an attractive feature of nuclear reactor technology.

"Kairos Power's advanced reactor technology offers incredible energy density," Ortiz said. "One golf-ball-sized fuel pebble can produce the same amount of energy as burning four tons of coal."

Google signed an agreement to buy nuclear energy produced by Kairos Power's small modular reactors to support the needs of its artificial intelligence systems.

"This landmark announcement will accelerate the transition to clean energy as Google and Kairos Power look to add 500 (megawatts) of new 24/7 carbon-free power to U.S. electricity grids," Michael Terrell, Google senior director of energy and climate, said in a statement.

The projects in this agreement are slated to be finished and in operation across multiple plants by 2035.

Kairos Power, based in California, was founded in 2016 and employs more than 480 people. The company has hired more than 130 employees at its plant in Albuquerque, N.M., with an average salary of more than $100,000. It will also create more than 55 "high-skilled, high-paying" jobs to build, operate and decommission the Hermes Low-Power Demonstration Reactor near Oak Ridge, Tenn.

Construction on the Hermes reactor began in July. It will be used to develop the company's commercial advanced nuclear reactor technology.

Nuclear energy accounts for about 50% of U.S. clean energy production, according to the U.S. Department of Energy.

The Hermes reactor is projected to be complete in 2027.

The Palisades Nuclear Plant is not the only U.S. plant set to be brought back online. Microsoft agreed to a deal with Constellation, a Baltimore based energy company, to restart Three Mile Island Unit 1 in Londonderry Township, Pa.

The plant will produce 835 megawatts of electricity and create an estimated 3,400 jobs. It was shut down in 2019.

Three Mile Island Unit 2 was the site of a meltdown in 1979, leading to the evacuation of thousands of people. Like Chernobyl and Fukushima, Three Mile Island evokes memories of what can go wrong with nuclear power.

Dr. Arthur Motta of the Ken and Mary Alice Lindquist Department of Nuclear Engineering at Penn State told UPI that the Three Mile Island meltdown brought about positive changes to the industry. Better reporting and sharing of information about malfunctions among plants internationally has increased safety and reliability.

The challenge nuclear energy faces in the realm of public perception is cutting through the fear that has been harnessed in decades of pop culture depictions of nuclear disasters. Godzilla, the Fallout video game series and Homer Simpson bumbling around the Springfield power plant have fed into misconceptions about the industry, Motta said.

"It strikes something in the human psyche that makes people afraid," Motta said. "People evaluate risk based on their familiarity. Nuclear is the unknowable. People don't know about it."

Critics of nuclear energy have raised questions about waste disposal. Nuclear waste looks far different from the barrels filled with glowing green liquid that create three-eyed fish on The Simpsons. Instead, most waste comes in the form of nuclear fuel rods. They are highly radioactive but are not voluminous.

Motta explains that the total volume of the nuclear waste produced in the United States in the last 40 years could be stacked 2 to 3 meters high across one football field. There is about 90,000 metric tons of spent nuclear waste in the country, according to the U.S. Government Accountability Office. The Department of Energy is responsible for disposing high-level waste -- like the nuclear fuel rods -- in a yet-to-be-built repository.

In 1987, the government designated the Yucca Mountain in Nevada to be the site of a waste repository. However, the government turned away from nuclear energy through the Obama administration while lawmakers came to an impasse over next steps. The Obama administration also began to explore alternatives to the Yucca Mountain.

Currently nuclear waste remains stored in spent fuel pools -- large, reinforced concrete casks lined with steel. The fuel is submerged in 40 feet of water and cooled for five years or more before being moved to a dry cask to be stored for up to 40 more years.

This method of storage is considered temporary by the U.S. Nuclear Regulatory Commission.

The radioactivity of nuclear waste decays over time. After 40 years, the radioactivity of a spent fuel rod is about one-thousandth of what it was when it was first placed in storage, according to the World Nuclear Association.

Motta said the chief concern about storage of waste among skeptics is that radiation will make its way into the water table due to the containment casks corroding and the waste dissolving.

"The water table goes very deep. You bury the waste 5,000 feet and you're still well above the water table," he said. "There is no way for the waste to be released, especially because of the corrosion-resistant canisters and drip shields. Really, it's a question of if you believe the disposal proceeding can be done safely and I think it can."

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