#Indigenous people in tech

[crytidsprinkles]

Alt: the inventor vs the invention. a language revitalization robot that speaks my Indigenous language Anishinaabemowin pic.twitter.com/ydo88kMzT9

Photo of inventor Daniel Boyer holding language bot. Hair in large buns with braids going down and wearing cream shirt with colorful abstract design on it.

— Danielle Boyer🤖 (@danielleboyerr) February 1, 2024

[wondernwriter]

Yass!!!

[termagax]

genuinely i find the entire chunk of lore to be unsalvagable at this point like just throw it out and start over

[confessionsofanarcheologist]

Something I’ve noticed about archeology in America is that the companies where I am at seem so desperate for workers.

You don’t even have to be qualified, they will train you. Even if you lie and say you’re qualified to do analysis sometimes they won’t check to ensure you are. It’s terrifying.

We only get one chance to record everything properly. Let’s get it done right. Hired qualified people please.

People are qualified through education, experience, or both.

[mater-earth]

New mapping app to support Indigenous peoples and local communities to showcase their conservation efforts

Mapeo for #ICCAs is a new mapping app co-developed by Digital Democracy, UNEP-WCMC, and Forest Peoples Programme to help indigenous peoples and local communities map the territories and areas they are conserving.

The app provides ICCA custodians with the means to digitally map the boundaries of their ICCAs, improving the quality and accuracy of the information collected.

Read more https://www.unep-wcmc.org/en/news/new-mapping-app-to-support-indigenous-peoples-and-local-communities-to-showcase-their-conservation-efforts

[probablyasocialecologist]

SP: In light of this humanitarian solutionism being so reliant on technology rather than political demands, it seems relevant that Israel brands itself as a tech capital. Water technology is a major part of Israel’s nation-building project, from its aspirations of “making the desert bloom,” to its pride in exporting desalinated water to neighboring countries like Jordan. Israel starves Palestinians of water with one hand, and exports it with the other. How does this benefit its global image? MD: Since its creation, Israel has promoted itself as a modernization project. The idea that Israel is coming to these desolate, undeveloped environments to make them flourish fits into a colonial logic that different colonial powers have used to exploit and erase indigenous presence on the land. When Israel promotes itself as a leader in environmental technologies, it exports not only technology, but also the techniques for governing colonized people. For example, their projects that travel to other places around the world lead to a higher level of privatization of water resources, and higher levels of exclusion of colonized people from their resource development, while ensuring a state hegemony over these resources in those places. For this export to happen, Palestinians must first live with manufactured thirst and manufactured scarcity of resources. Technology doesn’t really move apolitically. 

Systematic Thirst: An Interview with Muna Dajani

[fatehbaz]

When you tag things “#abolition”, what are you referring to? Abolishing what?

Prisons, generally. Though not just physical walls of formal prisons, but also captivity, carcerality, and carceral thinking. Including migration prevention; detention; fences and hard national borders; indentured servitude; inability to move due to, and labor coerced through, debt; de facto imprisonment and isolation of the disabled and medically pathologized; privatization and enclosure of land; sacrifice zones at the periphery; the urge to punish; categories of “criminality"; etc.

In favor of other, better lives and futures.

Specifically, I am grateful to have learned from the work of these people:

Ruth Wilson Gilmore on “abolition geography”.

Katherine McKittrick on "imaginative geographies"; emotional engagement with place; legacy of imperialism/slavery in conceptions of physical space and in devaluation of other-than-human lifeforms; escaping enclosure; plantation “afterlives” and how plantation logics continue to thrive in contemporary structures/institutions like debt colonies, workplace environments, prisons, etc.; a range of rebellions through collaborative acts, refusal of the dominant order, and subversion through joy and autonomy.

Macarena Gomez-Barris on landscapes as “sacrifice zones”; people condemned to live in resource extraction colonies deemed as acceptable losses; place-making and ecological consciousness; and how “the enclosure, the plantation, the ship, and the prison” are analogous spaces of captivity.

Liat Ben-Moshe on disability; informal institutionalization and incarceration of disabled people through physical limitation, social ostracization, denial of aid, and institutional disavowal; and "letting go of hegemonic knowledge of crime”.

Achille Mbembe on co-existence and care; "necropolitics" and bare life/death; historical evolution of chattel slavery into contemporary institutions through control over food, space, and definitions of life/land; the “explicit kinship between plantation slavery, colonial predation, and contemporary resource extraction” and modern institutions.

Robin Maynard on "generative refusal"; solidarity; shared experiences among homeless, incarcerated, disabled, Indigenous, Black communities; to "build community with" those who you are told to disregard in order "to re-imagine" worlds; envisioning, imagining, and then manifesting those alternative futures which are "already" here and alive.

Leniqueca Welcome on Caribbean world-making; "the apocalyptic temporality" of environmental disasters and the colonial denial of possible "revolutionary futures"; limits of reformism; "infrastructures of liberation at the end of the world."; "abolition is a practice oriented toward the full realization of decolonization, postnationalism, decarceration, and environmental sustainability."

Stefano Harney and Fred Moten on “the undercommons”; fugitivity; dis-order in academia and institutions; and sharing of knowledge.

AM Kanngieser on "deep listening"; “refusal as pedagogy”; and “attunement and attentiveness” in the face of “incomprehensible” and immense “loss of people and ecologies to capitalist brutalities”.

Lisa Lowe on "the intimacies of four continents" and how British politicians and planters feared that official legal abolition of chattel slavery would endanger Caribbean plantation profits, so they devised ways to import South Asian and East Asian laborers.

Ariella Aisha Azoulay on “rehearsals with others’.

Phil Neel on p0lice departments purposely targeting the poor as a way to raise municipal funds; the "suburbanization of poverty" especially in the Great Lakes region; the rise of lucrative "logistics empires" (warehousing, online order delivery, tech industries) at the edges of major urban agglomerations in "progressive" cities like Seattle dependent on "archipelagos" of poverty; and the relationship between job loss, homelessness, gentrification, and these logistics cities.

Alison Mountz on migrant detention; "carceral archipelagoes"; and the “death of asylum”.

Pedro Neves Marques on “one planet with many worlds inside it”; “parallel futures” of Indigenous, Black, disenfranchised communities/cosmologies; and how imperial/nationalist institutions try to foreclose or prevent other possible futures by purposely obscuring or destroying histories, cosmologies, etc.

Peter Redfield on how metropolitan residents try to hide slavery and torture/punishment on the periphery of Empire; early twentieth-century French penal colony in tropical Guiana/Guyana; the torture of the prison relies on the metropolitan imagination's invocation of exotic hinterlands and racist civilization/savagery mythologies.

Iain Chambers on racism of borders; obscured and/or forgotten lives of migrants; and disrupting modernity.

Elizabeth Povinelli on "geontopower"; imperial control over "life and death"; how imperial/nationalist formalization of private landownership and commodities relies on rigid definitions of dynamic ecosystems.

Kodwo Eshun on African cosmologies and futures; “the colonial present”; and imperialist/nationalist use of “preemptive” and “predictive” power to control the official storytelling/narrative of history and to destroy alternatives.

Tim Edensor on urban "ghosts" and “industrial ruins”; searching for the “gaps” and “silences” in the official narratives of nations/institutions, to pay attention to the histories, voices, lives obscured in formal accounts.

Megan Ybarra on place-making; "site fights"; solidarity and defiance of migrant detention; and geography of abolition/incarceration.

Sophie Sapp Moore on resistance, marronage, and "forms of counterplantation life"; "plantation worlds" which continue to live in contemporary industrial resource extraction and dispossession.

Deborah Cowen on “infrastructures of empire and resistance”; imperial/nationalist control of place/space; spaces of criminality and "making a life at the edge" of the law; “fugitive infrastructures”.

Elizabeth DeLoughrey on indentured labor; the role of plants, food, and botany in enslaved and fugitive communities; the nineteenth-century British Empire's labor in the South Pacific and Caribbean; the twentieth-century United States mistreatment of the South Pacific; and the role of tropical islands as "laboratories" and isolated open-air prisons for Britain and the US.

Dixa Ramirez D’Oleo on “remaining open to the gifts of the nonhuman” ecosystems; hinterlands and peripheries of empires; attentiveness to hidden landscapes/histories; defying surveillance; and building a world of mutually-flourishing companions.

Leanne Betasamosake Simpson on reciprocity; Indigenous pedagogy; abolitionism in Canada; camaraderie; solidarity; and “life-affirming” environmental relationships.

Anand Yang on "forgotten histories of Indian convicts in colonial Southeast Asia" and how the British Empire deported South Asian political prisoners to the region to simultaneously separate activists from their communities while forcing them into labor.

Sylvia Wynter on the “plot”; resisting the plantation; "plantation archipelagos"; and the “revolutionary demand for happiness”.

Avery Gordon on haunting; spectrality; the “death sentence” of being deemed “social waste” and being considered someone “without future”; "refusing" to participate; "escaping hell" and “living apart” by striking, squatting, resisting; cultivating "the many-headed hydra of the revolutionary Black Atlantic"; alternative, utopian, subjugated worldviews; despite attempts to destroy these futures, manifesting these better worlds, imagining them as "already here, alive, present."

Jasbir Puar on disability; debilitation; how the control of fences, borders, movement, and time management constitute conditions of de facto imprisonment; institutional control of illness/health as a weapon to "debilitate" people; how debt and chronic illness doom us to a “slow death”.

Kanwal Hameed and Katie Natanel on "liberation pedagogy"; sharing of knowledge and subversion of colonial legacy in universities; "anticolonial feminisms"; and “spaces of solidarity, revolt, retreat, and release”.

[thetombedspirit]

So... I could be totally wrong, but based on the new promo pictures for Avatar 3, I think the Ash People are going to be less of a tribe and more of a cult.

I mean, just look at this image for starters. The ones one surrounding Varang are wearing some freaky looking masks, and Varang seems to be wearing an outfit made entirely of Na'vi braids. That is insane and defiantly makes me afraid of this woman. So no wonder she and Quaritch team up at some point.

You can actually see glimpses of Lyle and Quaritch in the back here as Varang introduces a new kind of creature, which is also pretty dope.

In fact, you can see a LOT of Na'vi here weilding guns, like WHAT?!?!

Which brings me to another image that I think really proves that not only are these people a cult, but they're a cult that worships the Sky People.

Yep. They have air balloon ships. We literally have Na'vi Sky Pirates.

All jokes aside though, what I think is going on is that the Ash People are a Cargo Cult, a group of indigenous people who see bizarre looking strangers coming from a foreign land (or in this case, planet) and basically liken them to Gods (for better details, I recommend watching Game Theory's Minecraft Cult video.)

Anyway, what I'm getting at here is that Na'vi like Varang probably were inspired by the Sky People and their giant metal ikran that could fit more then one person, and their weapons and tried to recreate them, disregarding the way of Eywa, which likely didn't go over well with the other Na'vi. Especially after Grace's School; they were probably banished when those particular Na'vi still supported them after the fact.

But when the RDA was first defeated and sent away, Varang and those Na'vi, like the Cargo Cults of Earth, tried anything to get them to return. They wear masks over their faces, they recreated their ships, they teach themselves how to use their weapons and basically making menaces of themselves to other Na'vi.

And so, Varang become the Olo'eykte of a new clan. A clan that worships the innovations and technologies of the Sky People.

And I bet they would be very excited if they were ever to come across Miles and Lyle, humans that have been reborn into Na'vi, hence why they start working together, which would be a scary thought to think about.

But it would make sense too, because, before, when I still thought of the Ash People as a legitimate clan, I never understood why a clan would be supportive of what they're doing if they worshipped Eywa and help them attack other Na'vi. Like why side with Quaritch when he wants to help the RDA perform a hostile takeover and not Jake, who wants to preserve the Na'vi home and way of life. But it does make sense to me, if they were ostracized by their people for their continued adoration of their techniques.

In fact, if I was to really dig into this, this might explain Teylan and his fascination with human tech too. If others are just as intrigued by their tech, then so would he.

So yeah, that is my reasoning for why I think the Ash People are a cult and why they would align themselves with the RDA. Please let me know what you think and I can't wait to see this movie!!!💙

EDIT!!

So these airships...

What I may have misinterpreted as a Ash People replication of ships may actually belong to another tribe that's to feature in the film. The Windtraders.

And that makes sense with this image of Neytiri and her Ikran flying beside them. The Ikran's calm, Neytiri has no weapon ready, so I can only assume that the Windtraders are a tribe of nomadic merchants, who travel from place to place and, as the name implies, trade with other clans.

Maybe one such clan they trade with is the Metkayina, and that's how we'll get introduced to this clan and their way of living.

I still %100 believe that the Ash People are a cult, but I just wanted to clarify my mishap.

And who knows? Maybe the Ash People are scheming to steal their ships so that they can really imitate the Sky People and that's how the Sully's confront them.

Be a good way to kick start the plot is all I'm thinking.

[drdemonprince]

I understand why people love railways and all but I just can't buy into the sunny fantasy of a heavily infrastructured high speed rail covered socialist utopia or whatever given how much the development of national railways was central to the genocide of Indigenous people and theft of their lands. alongside the declaration of land grant universities and other supposed public works. i'm not anti civilization but im not exactly not either, and i dont think the high tech, still colonialist, yimby socialism a lot of white people dream of is it dog

[transmutationisms]

okay so i’ve never really grasped this, might as well ask now — how exactly does the cyberspace & nft stuff mine resources? i’ve heard the basics (i.e. crypto mining uses energy and what not) but i’ve never been able to understand how internet connects to real resources. could you sort of explain that (along the lines with the spam email post) in a simpler way?

ok, put very simply: it's easy for people who only interact with the internet as users to treat 'cyberspace' or 'the virtual world' as immaterial. i type something out on my phone, it lives in the screen. intuitively, it feels less real and physical than writing the same words down on a piece of paper with a pencil. this is an illusion. the internet is real and physical; digital technology is not an escape from the use of natural resources to create products. my phone, its charger, the data storage facility, a laptop: all of these things are physical objects. the internet does not exist without computers; it is a network of networks that requires real, physical devices and cables in order to store, transmit, and access all of the data we use every time we load a webpage or save a text document.

this is one of google's data centres—part of the physical network of servers and cables that google operates. these are real objects made of real materials that need to be obtained through labour and then manufactured into these products through labour. the more data we use, the more capacity the physical network must have. google operates dozens of these data centres and potentially millions of servers (there is no official number). running these facilities takes electricity, cooling technologies (servers get hot), and more human labour. now think about how many other companies exist that store or transmit data. this entire network exists physically.

when you look at a server, or a phone, or a laptop, you might be glossing over a very simple truth that many of us train ourselves not to see: these objects themselves are made of materials that have supply chains! for example, cobalt, used in (among other things) lithium-ion batteries, has a notoriously brutal supply chain relying on horrific mining practices (including child labour), particularly in the congo. lithium mining, too, is known to have a massive environmental toll; the list goes on. dangerous and exploitative working conditions, as well as the environmental costs of resource extraction, are primarily and immediately borne by those who are already most brutally oppressed under capitalism: poor workers in the global south, indigenous people, &c. this is imperialism in action. digital technologies cannot exist without resources, and tech companies (like all capitalist firms!) are profitable because they exploit labour.

all commodities require resources and labour to make and distribute. digital technology is no different. these are material objects with material histories and contexts. nothing about the internet is immaterial, from the electromagnetic waves of wi-fi communication to the devices we use to scroll tumblr. it is, in fact, only by a fantastical sleight-of-hand that we can look at and interact with these objects and still consider the internet to be anything but real resources.

[alethianightsong]

Atlantis: the Lost Empire subverts the "White Savior" trope so well and here's my Ted talk tangent

Atlantis: the Lost Empire is just Avatar but with a smarter story. Both films feature a young white man discovering a foreign culture, falling for the culture's princess, and saving the natives' way of life. Both films commentate on the exploitation of indigenous people for their resources. The biggest fundamental difference between Avatar and Atlantis is how the white male leads approach their scenarios. Milo Thatch is a wide-eyed scholar who just wants to learn; Jake Sullivan is a soldier infiltrating the culture so he can exploit them. Milo never had any intention of hurting/exploiting the natives but the people around him did; Jake knew the end goal was exploitation and only changed his alliance when he fell in love. Kida comes to Milo for help and he approaches her with respect not condescension; Jake has to learn the planet and its people are worthy of respect. Milo is attracted to Kida but he doesn't save her so he can get the girl; he saves her to save her people (getting the girl was a luxury and even then, it's obvious they'll take things slow cuz there's more important things than romance like reconnecting the Atlanteans with the lost parts of their culture). The Atlanteans are also not harmless, primitive natives. They had super-advanced technology ie the Leviathan that took out a modern submarine in like 2 minutes while the Navi are overtly primitive, their simplicity treated as a virtue. The Atlanteans were so advanced that they sent themselves back to the Stone Age with their war tech. This little detail keeps the Atlanteans from being hippie-dippie natives who need rescuing and make them a cautionary tale; they used to be greedy, hyper-advanced warmongers and that hubris leaves their race and culture on the verge of extinction. Both the Navi and Atlanteans have spiritual, mystical aspects to them, but the Navi are anti-tech while it's only the rediscovery of their tech that allows the Atlanteans to save themselves. The primitive life we see the Atlanteans lead is not presented as ideal; it is the death throes of a culture, a fatal stagnation at the bottom of the world. When Kida and Milo meet, it's not the typical "more advanced culture taking from the weaker culture" that has come to define first contact between societies. It's quid pro quo: we both answer, we both listen, we both come away with more not one party coming away with less. No one is humbled or talked down to. As for the antagonists of both films (Avatar and Atlantis) the antagonists of Avatar are just cardboard cutouts. The antagonists of Atlantis are just disinherited individuals coming together for a treasure hunt. There's a gag where Milo asks what each character seeks and they all say "Money" but that's not it. They each want to pursue goals unique to them and they need money to do it. When the chips are down and it's either money or NOT dooming an entire lost tribe to death, they choose saving the tribe. The main big bads, Rourke and Helga, have just spent a day walking through a ruined city where people live in the remains of their greatness and think, "Yeah, we are so stealing their technology so we can reenact the fall of their civilization on our OWN civilization. Why? Cuz capitalism." Why am I talking so much about Atlantis but not Avatar? Because Avatar lacks depth. I've watched Atlantis a thousand times on my cheap 2000s-era TV and get pulled in each time but Avatar's just a pretty screensaver playing in the background.

[filmnoirsbian]

Things read and watched in January

Essays & Articles:

Inside A Neo Nazi Homeschool Network with Thousands of Members

I Cut the 'Big Five' Tech Giants From My Life. It Was Hell.

Social Media, Social Factory

The Not So Hidden Israeli Politics of 'The Last of Us Part II'

The Okinawa Problem: The Forgotten History of Japanese Colonialism and Ryukyuan Indigeneity

How the Pentagon Leaned on Hollywood to Sell the War in Afghanistan

Get Out and the legacy of sundown suburbs in post-racial America

There is No Mary Problem in 'It's A Wonderful Life'

Why Do Rich People Love Quiet?

John Mulaney's Jokes About His Jewish Ex-Wife Suddenly Don't Seem So Funny Anymore

Kansas Research Shows Reintroducing Bison on Tallgrass Prairie Doubles Plant Diversity

"Alien" chestburster was inspired by writer's Crohn's disease

It's Frustratingly Rare to Find a Novel About a Woman That's Not About Love

The 50 Greatest Apocalypse Novels

Something in the water--life after mercury poisoning

Do You Have To Win A Nobel Prize To Be Translated?

Co-Author of Affluenza: "I'm Appalled by the Ethan Couch Decision"

Data Reveals Loneliest Cities in America

Groundbreaking effort launched to decode whale language

Ireland offers basic income for artists

Unhinged 'Transvestigators' Think They're the Only Cis People Left

Werner Herzog 'gives blessing' to pirates who want to download his films on Torrent sites

Music on Mars: If you thought space was silent, take a closer listen

The Singularity is Here

The Average Fourth Grader is A Better Poet Than You (and Me Too)

If Black English Isn't A Language, Then Tell Me, What Is?

Poetry:

Guts by Julia Armfield

the guessing game: a mother's love by Silas Denver Melvin

The Sea is Rising by Rakyah Assam

You Were You Are Elegy by Mary Jo Bang

Stop and Look, Alicante by Layla Benitez-James

ANWR by Sherwin Bitsui

Self-Portrait as Daily Sustenance by Ae Hee Lee

On Asking My Mother About Winter 1990 by Abhijit Sarmah

Finally Writing the Poem by Tarik Dobbs

Pound and Brodsky in Venice by Megan Fernandes

Books:

Engine Summer by John Crowley

No One Cares About Crazy People by Ron Powers

My Favorite Thing is Monsters by Emil Ferris

Hybrid Heart by Iori Kusano

Films:

[reasonsforhope]

"When President Lula da Silva took office this year in Brazil, many environmental and indigenous rights groups hoped he would fulfill campaign promises of better protection for the Amazon rainforest and the people who live there.

Nearly four months into his tenure and early signs are that Lula was telling the truth, as Brazilian police have evicted dozens of illegal gold miners from the Yanomami Reserve, an area the size of Portugal inhabited by around 35,000 [Indigenous people].

Illegally-mined gold accounts for around half of all the country’s exports, and a new Environment of the Amazon division of the federal police is seeking international assistance in building a first-rate structure for targeting the outside funding toward and sales from illegal gold mining.

Reuters says that so far, the new division has ousted nearly all miners from the area, including overseeing the destruction of 250 mining camps and 70 low-tech boats used for dredging. 48 planes and helicopters for smuggling the gold out of the reserve have been seized as well.

The police hope to use radioisotope technology and methods to be able to pinpoint the exact mineralogical makeup of illegally mined gold as a way of targeting it in the market even after it’s melted into ingots.

They also plan to remove miners from 6 other Amazon reserves this year, while setting up a permanent, floating police station on a river in the Yanomami Reserve.

At the moment, the Lula Administration is considering the best set of laws for tackling the problem. While 804 miners have been arrested in the raids, all were let go, and many others fled in the police advance.

Humberto Freire, from the new Amazon division, told Reuters he and his department hope to create a sophisticated electronic tax receipt for any transactions of precious metals to help pinpoint sales and distribution of suspected illegal bullion."

-via Good News Network, 3/23/23

-video via Reuters, 3/22/23

[marzipanandminutiae]

The filmmakers choice to make the Capitol look like That in the original trilogy baffled me, but imo the ballad of songbirds and snakes (book) does address some of the more glaring issues, like Snow especially is more hyper masculine Musk-like (I think at one point he claims he’d be way taller if his diet hadn’t been impacted by the war, he also talks a lot about whether he finds the women around him attractive, including his cousin who basically helped raise him)

Interesting!

Yeah it's been too long since I read the books to fully recall, but I don't remember the Capitol being described with any particular aesthetic, any more than District 12. Which makes sense- Katniss is the PoV character and she wouldn't really notice things like that as much. I remember that it's very high-tech and luxurious, and certain details like rose-scented soap and some stew with plums are mentioned. But other than that, I don't recall there being any reason to depict all the inhabitants as wearing brightly-colored, artistic runway fashion.

Except, once again, that it's been a fictional shorthand for Evil Decadent Upper-Classes for so long. In ways that sort of play into underlying cultural misogyny and homophobia.

I'd have made the Capitol very sleek and monochromatic, personally. All glass, steel, and chrome- brand-new buildings where there are still some older wooden and brick structures in the districts. With more color and visual diversity/artistry among the common people, maybe with pre-Panem cultural references like indigenous-style art on some walls or other aspects of people's different ethnic heritages, and a uniform, greige, HGTV look for the elites. But that's just me.

[flagellant]

Some of the asks you're receiving are giving me worrying flashbacks to being the only kid in my class arguing that dropping the atom bombs on Hiroshima and Nagasaki was wrong. I hope someone has studied the 'the more unconscionable an empire's actions the harder its people are taught to defend them' effect because it is a doozy. I am also concerned with how many people are not thinking twice before sending messages saying, essentially, 'You're exaggerating the cruelty of the US's occupation of another sovereign nation!' to....a member of an occupied sovereign Indigenous nation. I hope they're not weighing on you too much or dampening your enthusiasm for this project. I am really enjoying your research sauga, thank you for sharing it with us!

Thank you for this ask. I can't honestly pretend that all of this very much has been weighing on me. It's frustrating on a lot of levels but more than that it just kinda sucks and hurts. Especially as someone who is literally Indigenous and doesn't have dark skin? It's a constant battle of trying to not need to prove I'm Native enough versus having to fight for the recognition that I am my culture and I'm not just fucking racefaking, versus the fear that trying to be more visibly Native would just make me look like a racist caricature even though the whole reason I feel that impulse is because to non-Indigenous people, they see Native Americans as a single monolithic caricature and culture. I can't be native because I don't look like the noble savage in their heads. Don't pay attention to history, there clearly has never been a situation where perhaps Natives on the whole got more and more lighter skinned as generations went on. And there's definitely never been any reason for the American government to have extreme incentive in making sure Natives got bred out of the gene pool.

And none of this is actually directly relevant to the pressure, but it's informing how I'm approaching the research, as someone who can empathize with cultural erasure at the hands of fucking taibo, and I think that no matter what, conspiracy or not, cover-up or not, I think that it is incredibly important that more people in the world are aware that leading into the Cold War, Japan was forcibly coerced into giving total power over a significant cultural touchstone/ingredient/way of life to a single foreigner who had a complete lack of respect for what shoyu is, even going so far as to say "I want to change Japan's taste preferences". I cannot imagine a more direct and blunt parallel to settler-colonialism mindset. I truly cannot.

So to be consistently challenged--despite having either corrected or adapted mistakes/misinformation, or on some occasions actually proving that what I am claiming is not a mistake and it was like this--is kind of pinging a bunch of radars. Even beyond the pressure to perform for the sheer volume of interest--I'm used to that, I've not been exactly an unknown figure on this hellsite--there's a pressure to be perfect. To be immediate. I need to give the people the true answers and the end of the story three days ago; I need to give updates; I need to consider whether or not I want to be interviewed by Tech Crunch; I need to do everything except be allowed to let the natural timeline of research actually be its natural timeline.

I can't continue a large portion of research without having received responses back from government bureaus, from research archives, from college professors, from genetic biologisists, from horticulturists, from historians, from translators I'm paying with the money being sent about this project, from the genealogists and archivists and librarians who are also part of it...the list goes on. I can't make official entities of bureaucracy answer me quicker. It just doesn't work like that in real life--but for some unfathomable reason, Tumblr isn't treating what I'm doing like real life. They're treating it like an ARG.

So I suppose all this is to say I'm seriously having to consider going mostly offline for this holiday season. And I'm almost definitely going to try and avoid this project as much as I can during winter break; it's not like I'll be making quick progress anyway, since half of the academic sources I've contacted are already out for winter.

I hope that all of you understand that, for the most part, it's not you all as a group which is so upsetting and frustrating and draining and worrisome. For the most part it is individual responses from individual people, with a background radiation of eyes and pressure and selfishness on top of it, the natural state of existence for being in the spotlight at any given time. And I hope at the same time all of you understand how incredibly grateful, and touched, and honored, and excited I am that so many others are ALSO excited about this project. That all of you are just as eager to get to the bottom of whatever this ends up being as I am. The fact that people are willing to pay attention, even if only for a little while, to someone whose country is being occupied by foreign invaders investigating and finding the truth about what was happening during a different occupation with the same invaders. I think what is being done here is important work. And I'm glad that all of you do as well.

Without your generosity I would not have been able to even remotely gather the strength to push this for the long haul. And I do mean that literally. I started this project with less than $50USD in my bank account and today this is the first time I've ever had more than about $750 to my name. It's not much in the long run but I'm just so used to having nothing to spare that having any feels like the height of luxury. I bought myself a chai frappe today because I was waiting for a meeting to start. And I didn't hardly feel guilty. I can't tell all of you how emotional that made me, but if you've ever had rough times, I'm sure I don't need to.

Thank you all. I'm really excited to see where we go from here.