#capitalism vs nihilism

[vyeoh]

The actively created scarcity of lives in last life vs the passive inevitability of depletion in limited life

[thoughtportal]

nihilism is a tool of the capitalist class

Jacobin

[shallowrambles]

I guess the truth is we’re all a little bit in purgatory, a world where work is a redundant, rote, day-to-day grind.

Black-and-white. Unthinking. Uncomplicated. Just survival. “Pure,” so we can philosophize to our heart’s content and meditate on our own emotions.

Assigned task, completed task.

We don’t emerge whole into the real world except in glimpses, seeing the damage our careers and commerce do or the horror the govt we serve has wrought.

So we retreat again—into the metaphysical purgatory of the day-to-day. “We’ve got work to do.” If we have to do it to survive, it lessens the moral wound of it.

[pebble-of-gold]

WOO 2023

Lets talk about my top 10 films that came out in 2022! I watched a lot of films last year!

1. Everything everywhere all at once

I could write essays on this movie but putting it simply I watched this film in theatres 5 times. There was nothing in this movie that dissapointed me. Its an incredible example of nihilism vs existentialism and I cried 3/5 times i saw it. I now own it on dvd.

2. Bullet train

Bullet train I saw ever so slightly less coming in at 4 cinema visits! Fantastic visuals and soundtrack. Wonderful casting and a fabulously written script! One of my favourite examples of a film that is just fun to watch. I'll be honest on the 3rd and 4th time I was a bit bored but theres not as much going on to rewatch as EEAAO.

3. Black panther: Wakanda forever

I started crying and I dont know if I stopped? An incredibly touching tribute to Chadwick Boseman and a heartbreaking reminder of who we've lost. I think this is the best marvel movie since endgame honestly.

4. The unbearable weight of massive talent

Nick Cage is unironically one of my favourite actors and him and pedro pascal have created an amazing piece of media here. It is so funny and thats all it needs to be! Its just 2 guys getting to know eachother. Fair enough theres some action and spy shit going on but with that removed it is just pure fun.

5. NOPE

A slightly controversial one I know, However, I will never get over the wacky inflatable arm tube men. Im not even joking. They are what made me want to see the film in the first place! No but an excellent example of terror vs fear and a perfect film to discuss questions like "how far should you go for the shot" and issues like exploitation of animals.

6. Three thousand years of longing.

First and foremost its Tilda Swinton and Idris Elba enough said. This movie is gorgeous. The cinematography is beautiful and the costumes the makeup the set design the props my word they did not dissapoint! The message of the film is largely isolation but also behind that theres a sense of love is eternal and how much would you do for love. I couldn't recommend this film more.

7. Matilda

Ok this one is the music and choreography for me. It's a fun film and i loce the set design for it. The costume for mrs wormwood is to die for and I want it all. Theres not a huge moral like the others on the list its a good example of what goes around comes around and good prevails. The camerawork is amazing too.

8. The Menu

Everyone in this film is an awful person EXCEPT Anya Taylor Joy's Character and I live for it. The pacing is wonderful, the camerawork again fantastic and the characterisation!!! There is so much tension and it keeps building until you reach the climax its a wonderful. I like to think the film is about anti capitalism and the death of creatives due to the preassure of critics.

9. The banshees of inisherin

My favourite type of media is where nothing happens but SO MUCH happens. (Rosencrantz and Guildenstern are dead is a wonderful example of this) and Banshees is an amazing example of that. At its core its about loss and lobelyness. Plus It has a RELATIVELY ACCURATE autistic character and thats my favourite part.

10. Don't worry darling

DON'T BOO ME DON'T YOU DARE. OK I ENJOYED IT. SOMEONE HAD TO! HARRY'S ACTING WASN'T EVEN THAT BAD YES IT COULD HAVE BEEN BETTER BUT THERE WAS SO MUCH SHIT GOING ON CAN YOU BLAME HIM! plus I was living for the drama of DWD and no it was not at all about feminism or the female orgasm but it was about control and it was a fantastic film to showcase that.

Honorable mentions go to:

Where the crawdads sing, Batman, The bad guys, Sing 2, violent night, JJK:0, Multiverse of madness.

Thor does not get an honorable mention and I will not see avatar 2 because I want it to flop.

[queer-starwars-bracket]

Queer Star Wars Characters (Round 1): General Bracket Match 47

Ailee | Identity: nonbinary | Media: The High Republic Cataclysm 

Ailee was the port commander for Erasmus, the capital city of Eiram during the events of Cataclysm. When a ship exploded on Eiram and E’ronoh’s shared moon, they ordered the reverse military hauler Palana Van to investigate and interrogate the survivors of the crashed ship. They reported to Phan-Tu and the Eirami queens that the bioweapon klytobacter was found on the ship- which was a Path of the Open Hand ship that intentionally crashed on the planet to attempt to restart the Forever War.

They were aggressive and mistrustful of E’ronoh, only begrudgingly accepting the cease-fire. They ordered Palana and a squadron of Eirami ships to destroy the hauler with the klytobacter, assuming it was working for E’ronoh.

Bibs | Identity: non-binary | Media: High Republic Adventures (2020)

Bibs was one of the padawans being trained on the Star Hopper. Bibs wasn’t as close to Lula as Farzala and Qort, mostly hanging out in the background of panels doing their part, occasionally saying things. They were part of the mission to save Trymant IV. They were part of the large group of Jedi padawans and younglings that befriended Zeen when she first arrived on Starlight Beacon. Their next appearance was with the same group of young Jedi when Kantam was giving them updates on the situation after Valo before taking the main cast to Takodana. They participated in the Jedi Rumble Race where they took the “there are no rules” to mean they could replace the fuel in Ram’s droid with milk. Later, when scouting in a Vector (trying to compose some kind of song or poem to pass the time), they found the Nihil encampment on Dol’har Hyde, where Krix would finally be captured. They presumably escaped Starlight with the rest of the younglings and padawans they hung out with.

[lith-myathar]

Rymrgand reminds me of the Lone Power from the Young Wizards series, except uh....a lot less sympathetic and charming

[grandhotelabyss]

Interesting. There are “confounding variables” here—the Times review wasn’t very positive, for one thing, and, for another, the average age of the Times reader vs. the average age of the novel’s and the podcast’s intended audiences are obviously in conflict. But even the latter fact points to a probably permanent drift away from legacy media institutions as sole arbiters of cultural legitimacy. (I doubt anything in the world could sell me on Fuccboi, though if I live to 90 and people are still reading it I guess I’ll give it a shot.)

I also have questions. Agents and managers are booking people on Red Scare now, I assume, or at least signing off on appearances? If so, I’d like to read some of the documentation. Do guests get a quotient of how many times they can say the r-slur or “gay”-in-the-pejorative? “The New Conservatism” marches on!

Now, if you’ll indulge me, I unironically think Anna (probably not so much Dasha) would like Portraits and Ashes. It’s about avant-garde art and socio-cultural nihilism—what’s not to love? Also, the main heroine, the anti-feminist feminist artist and theorist Alice Nicchio-Strand, is partially based on Paglia. I wrote it just before the Trump/Bernie moment and it is, in retrospect, redolent of that Laschian left-conservative despair early Red Scare conveyed so well before it became more predictably right-wing. I even have a Russian character pronounce the most extreme and reactionary version of one of the novel’s plausible morals:

“No, no, no,” he finally said. “I come from Communist country, Mr. Weis, that is where I grew up. I know how it works, Marxist-Leninist plan to pretend evil will go away if we take away beauty and money and not let people be the best. You know how it works? It doesn’t work. These stupid people in their ashes, they are like Marxists-Leninists without government to run, thank God for that. They think, Okay, let’s take away choices, let’s say nobody is different from nobody else. Then will all be okay, then we don’t need cafés, churches, artists no more, everyone will be better. But you know what happens? Everyone becomes worse! Because I only can make myself better, you only can make yourself better. Maybe it’s by work, maybe it’s by making pictures, maybe it’s by taking care of animals, whatever you like. Always it’s by prayer: ask God to please give you strength to be good. But if you stop people from work hard for themselves, if you stop them from prayer, what is left? Just the evil. I saw it growing up, Mr. Weis, and I see it in these crazy people who don’t want to be persons but just Its. Their ideas are, I’m sorry, they are absolute shit, because all they believe in is shit. It’s why they shit where they stand, because what do they respect? Nothing. Makes me sick to think of Yuliya with them. But you had a pretty good country when I came, where everybody work hard and was free, and now you throw it all away. Where are your churches? You close them. Where are your artists? Your museums, they hire filthy murderers, your closed churches are full of pornographers, and your talented ones, like Yuliya is, have to be bossed around by old man like me all day because who is interested in a really beautiful picture? The Marxist-Leninists had no freedom, yes, but your country has no charity, Mr. Weis, no love. So where is for your sad girl to go?”

Funny Red-Scare thematically-adjacent story: I loosely based the Russian character on the owner of the cafe where I wrote much of the novel. He would come in on the weekends to supervise the hip baristas, and you would hear him talk to the Boomer Sunday customers about the glories of capitalism compared to what he went through as a kid under the Soviets. It was a nice, raucous urban cafe with a made-up but euphonious-sounding Italian name and ’90s Borders Books furniture; they prided themselves on their gelato. Then he sold the place to a young girlboss who got rid of the gelato, jacked up the prices, introduced a vegan theme, and ran the place out of business in about two years. Where is for your sad girl to go indeed.

[nauseateddrive]

LOVESICK LOVEDOLL by Yuya Sakurai

Lovesick Lovedoll by Takuya Angel is artificial roses which love to hate #DontBeSilent BLACKPINK is pigeon blood and Russian Blue narcissus I'm fed up with too many shitstorms in SNS Claustrophobia

QAnon's Canon is Apocrypha of Asexual Angel Tet in Vitnam holidays began at 12th February, 2021 Twitter is Angel Dust of NieR Re [in] carnation, in which replicant/gestalt overdoses X automata

We are Big Tech junkies. #FreeNavalny #FreePussyRiot #FreePoliticalPrisoners #БЕСИТ

Synthetic Anthem of Isola's 5ch: mode is Last Bible of a jihad of NRx VS ultra left I'm listening to Ex:Re's Romance as a memorial to the club scene that is about to be buried

TikTok's hieros gamos is dejavu of Twitter's ex cathedra EVANGELION:3.0+1.0 THRICE UPON A TIME is perfectly post-Coronachan's movie my adolescence is over NRx Samsung is Tsunami fictsexual Hangul fake news in Farthest East where Final Fantasy's Snow Moon rises

Tonight's DJ is Michel Gaubert Blockchain's Sexadoll desires Yifang Taiwan Fruit Tea Keep on dancing even when the night comes Keep on dancing at the chemical complex of Odaiba island in Tokyo Bay

A girl with violet hair who is a smartphone zombie or a self-styled prophet is Dark Enlightenment of Chrome Diva Syndrome of Hatsune Miku's Stand Alone Complex

Femme Fatale with VR headset desires Áo dài of Proud Boys As a primitive AI of Baudelaire, I shouted the LUV in 202X's Brexit Graffiti of Banksy of Massive Attack is deep fake made by Cosplay Hikikomori Otaku boy Akira's Tokyo Olympic 2020 is not over

ANTIFA's Last Bible which screams in the Torrid Zone of Singapore is a dying scream of white supremacy Uber Eats in The Month of Mary raids Coronachan's NRx, QAnon and Proud Boys hot Vietnamese Tết Nguyên Đán of Nguyễn dynasty screams antifascism hip hop

DNA of Angelholic nihilism punks shout to the moon Nihil Unbound's Dark Enlightenment is THA BLUE HERB, the counterattack hip hop from most Northern area, Sapporo in Farthest East Japan under the mirror ball #BLM dances crossdresser/transvestite's S/Z is Hatsune Miku rebellion Angel Dust Chrome exhausts in the black market in Tokyo COMME des GARÇONS is Danse Macabre of Coronachan

Brand New Loveless COMME des GARÇONS is an overdose of Xtasy Acid rain was perfect purple of Xenophobia in Cipherpunk of Bitcoin's jihad Pokémon's World War III started in 2030 after GAFA Konzern raided Chinese Accelerationism Is speculative realism's God the capitalism or the anarchism? Take the black pill, not the blue pill nor the red pill MGTOW don't know love in manosphere TikTok's drag queen is Chrome Diva Syndrome

"The floor could disappear at this very moment, no one knows, and the laws of physics could change at any moment."

GUCCI, Cartier, Dior, Bvlgari, Alexander McQueen in the 90's. In Japan today, it's Uniqlo, Muji, Shimamura, or even secondhand clothes on Mercari. The sequel to Puella Magi Madoka Magica will be made next year, ten years after the last one, the same year as the theatrical version of MAWARU-PENGUINDRUM. DOM PÉRIGNON × LADY GAGA is mental female and anti-Phallocentrism Deus Ex Machina bisexual callboy falls the sickness unto death blue hair of Rei Ayanami is flapping in the wind of EVANGELION:3.0+1.0 THRICE UPON A TIME in a quarter-century Alexander McQueen is a gay born from Asexual Angel of Tokyo hallucination like Deep Fake. Poetry is not dead. There are no catches, no hosts, no cabaret girls, no yakuza in Tokyo, and If you think the language of poetry has disappeared from this country, then I'll show you that poetry is poetry, even if it's the language of a rabid dog, and Mallarmé is dead, and all that's left is Baudelaire reincarnated as a primitive AI, spinning Angelholic. I will end capitalism in the new century.

Post-Apocalypse/Pre-Dystopia I drink halcion in the midnight of sleepless Tokyo Dark Enlightenment is Hakenkreuz Hallucination which punks shout to the moon Last Emperor of Nhà Nguyễn, Vietnamese puppet dynasty déjà vu AKIRA's unrealized Olympic in 2020 Angel's wings open after the catastrophe of Fukushima's 3.11 tsunami and meltdown

GIMMICK of 19XX Apocalypse spread into crowd computer by Yakuza is sold to junkies of Puella Magi Madoka Magica Neo Nazi as white supremacy born from Angelphobia is claustrophobia in Farthest East's Shimabara Rebellion of the Trinity made of Angel Dust, Xtasy and LSD Racist AI's rhyme on trapbeet keens for Babylon as Triskaidekaphobia of lunar eclipse syndrome

YouTuber and Uber Eats are a new Dynasty's Bitcoin made by Satoshi Nakamoto, a new God of new Millennium with Blockchain and Tor Twitter is the place where Justice-holic people gather You say “I'm justice” He/She says “No. I'm justice” The graveyard of perverse senses of justice This is the punk-nihilo apocalypse updated into technothanatos future The nightmares of lunar eclipse lure the deformed fetus into the HAKENKREUZ HALLUCINATION I jamais-vu the moon through the pale smoke of Vogue AROME. In Tokyo, a city that is a fusion of garbage and Chinese medicine, I am watching the super-capitalist Game of Death in Kabukicho through ZEISS IKON with a thin smile on my face I have OVERDOSE the ice blue, I cut my chest into a swastika, but it does not become any kind of raison d'être 19XX Tokyo is burning pale white

TOKIO became like TOKYO-III after Second Impact of Neon Genesis EVANGELION currently because of Fukushima's 3.11 tsunami and meltdown and 2020's Coronachan Radioactive fallout rains and a state of emergency including lockdown is declared Cryptocurrency is Communion in the pandemic catastrophe after old normal when id loves ego like Cybergoth in fin de siècle

Sepher Sephiroth in Final Fantasy VII shakes his wings of sin, crime and punishment Pandemic is also Brand New Ave Maria of Aerith Gainsborough 卐’s code:gadget is LUNA SEA’s LOVELESS 7th heaven under Babylon, the skyscrapers of conglomerate, Shin-Ra Electric Power Company

Last Emperor of Vietnam shouts to the moon Brand new Emperor of Japan looks like Lautréamont's les Chants de Maldoror Chrome Exhaust cries Noir Désir in Tokyo Virus of the moon in which gefallener Engel reignites Black Russian Capitalist Theology and Communist Atheism clone the Internet where the exhaust spewing out of the chromed pipe announces REIGNITION of Godless borg in the age of original-sin-less raison d'être Overdose on the near-future digital decadence of Desire Ex Machina Run away in the 21st century, the avant-garde of the Internet age!

Actias artemis exhausts the pale desire in Game of Death's vainglory tattoed thrill and stimulation The fallen angel keeps on screaming "Scream like vanity of PUNX as the original sin blows up a pale exhaust"

GOD...PILL

I feel dizzy while cracking ghosts without the ice blue raison d'êtres with my boosted brain OS

[Are you Guilty?]

Shinjuku heat haze...punks dressed in Bondage by LOVELESS shout "GOD IS DEAD" by gefallener Engel to the skyscraper MALICE MIZER Deus Ex Machina falsification of the raison d'être///

...PILL?

"Count your sins..."

Schwarz Stein is Asexual Lilith...XXX...Asymmetrical-Androgynous mobile phone like Morpho rhetenor...I make a phone call to the moon... "Ice blue, GIG of original sin, lunar eclipse...There is everything..." A gay punk with blue hair upside down laughs bewitchingly..."God is dead at the end of the century..."

Bảo Đại, the last emperor of Nguyễn Dynasty, a puppet dynasty in Vietnam, is Brand New Madness with Cybergoth's DNA in Last Bible I skateboard in Kabuki-cho which became Guǐchéng I see Tokyo Metropolitan Government Building, a skyscraper, through a mirror shade as I see Hikarie in Shibuya, a ghost town as ex-downtown

Cadenza in which the billion Babel towers rise Martyrdom low-fi of full cyber jacket is heresy Loveholic Lovephobia in Neo Kowloon looks like Baizuo in Tokyo Bay which is s[K]ape:goat in SNS era Tokyo Songlines show death mask of AKIRA's Tokyo Olympic 2020 which makes us witness hallucination of Matrix in 2021 Drag queen looking like Thanatos of Les Fleurs du mal is my raison d'être in the nightmare of HAKENKREUZ HALLUCINATION Kabuki-cho, the sleepless city, is a complex of neons that gets infected the madness of blue night in Billie Eilish’s Vogue

NEON GENESIS overthrow of the Tokugawa Shogunate looks like call girl with bondage Crypto-Christian's Shimabara Rebellion headed by Shiro Amakusa is reborn in 3rd Millennium as boy doll in Shinjuku 2-chome who is an angel with seven wings in Pseudepigrapha, Sepher Sephiroth as The Flowers of Evil anime inflected post-apocalypse and digital decadence are hyper than hype and further than future in MMXXI

HYPEBEAST autopoiesis chrome dust topos overheats in smoke factory of MAGA angel BUCK-TICK Godless Posttruth Android priest holds a Kyrie eleison Mass techno-thanatos Noli Me Tangere Rosen Maiden post singularity Apocrypha junkies smartphone is like present-day castrato faith of absinthe Hypnotic Poison

Tokyo Babylon higher than Babel desert of skyscrapers Synthetic Anthem of neon rose neon butterfly drifts about digital tattoo SATORI Tokyo2021

Cult Trash

text by Yuya Sakurai Twitter @yuyasakurai illustration by ame Twitter @amello_rain

[marksollinger]

(don’t reblog) and i promise promise promise i will elaborate more on this later when i’m coherent and have slept for more than 3 hours but comparing archive 81 to tma is... very silly to me. like, the tapes thing? mixed with all the capitalist commentary? and the monstrous body horror? those are (very explicit) videodrome references. i promise you that the a81 people aren’t “ripping off the magnus archives” ...like, to be reductive, a81 is specifically the ‘anti-videodrome’ ..and by that i mean and the first 2 seasons are absolutely in direct conversation with that film. a81 takes all these things from cronenberg’s videodrome (among other things.. robocop included.. but let’s focus on videodrome for a second) and flips them upside down to turn the nihilism of videodrome into a hopeful and original story; it does this by making use of ideas about ‘human nature’, of humanity vs. monstrosity, living and being exploited under capitalism, being turned into a literal tool for a supernatural capitalist agenda, and more.

& i’m not saying they can’t be compared but.. apples and oranges, you know...

like. i love jokes about how similar these two podcasts are but i just don’t think it’s accurate to be comparing tma with a81 (in the ways i’ve seen people comparing them) when there are other clear media influences happening here. and hey! maybe this is a good opportunity for people to get into some of the weird film theory shit a lot of us cinema scholars have had to watch and write about in an academic setting an obscene number of times lmao

[mostlysignssomeportents]

Pluralistic: 13 Mar 2020 (The third Little Brother book, Where I write, stream global news, AT&T's CEO gets millions for his failures, Chelsea Manning freed, Katie Porter vs CDC, Trump's scientific nihilism, Covid-malware co-evolution, Siennese solidarity)

Today's links

Announcing the third Little Brother book, Attack Surface: And a new Little Brother/Homeland reissue, with an intro by Ed Snowden!

Where I Write: A column for the CBC that's really about how I write.

Stream 200+ global news channels: Each hand-picked, no registration required.

AT&T's CEO fired 23,000 workers and gave himself a 10% raise: Life on the easiest setting.

Chelsea Manning is free: But she's been fined $256K for refusing to testify to the Grand Jury.

Rep Katie Porter forces CDC boss to commit to free testing: Literally the most effective questioner in Congress.

Trump's unfitness in a plague: It's not because he's an ignoramus, it's because he's a nihilist.

Malware that hides behind a realtime Covid-19 map: Peter Watts' prophecy comes true.

Locked-down Siennese sing their city's hymn: A cause for hope in the dark.

This day in history: 2015, 2019

Colophon: Recent publications, current writing projects, upcoming appearances, current reading

Announcing the third Little Brother book, Attack Surface (permalink)

Attack Surface is the third Little Brother book, coming out next October.

It's told from the point of view of Masha, the young woman who is Marcus Yallow's frenemy who works first for the DHS and then for a private spook outfit. It's a book about how good people talk themselves into doing bad things, and how they redeem themselves. It ranges from Iraq to the color revolutions of the former USSR, to Oakland and the Movement for Black Lives.

The story turns on cutting-edge surveillance and counter-surveillance: self-driving cars, over-the-air baseband radio malware, IMSI catchers, CV dazzle and adversarial examples, binary transparency and warrant canaries.

This week, I did a wide-ranging and deep interview with Andrew Liptak for Polygon about the book, the Little Brother series, the techlash, the tech workers' uprising (and #TechWontBuildIt), and the future of technological self-determination.

We also revealed the cover for Attack Surface, which was designed by the incomparable Will Staehle (who is eligible for a Best Artist Hugo – nominations close today!).

https://us.macmillan.com/books/9781250757531

Not only that, but Staehle has also designed a cover for a new omnibus edition of Little Brother and Homeland that comes out this July, and as you can see from that cover, the book has an all-new introduction by none other than Ed Snowden!

https://us.macmillan.com/books/9781250774583

(In 2017, Staehle also designed all-new covers for my adult backlist)

https://www.tor.com/2017/10/18/cory-doctorow-will-staehle-covers/

The Little Brother books are neither optimistic nor pessimistic about technology: instead, they are hopeful. Hope is the belief that you can materially improve your life if you take action. A belief in human agency and the power of self-determination.

The message of Little Brother is neither "Things will all be fine" nor "We are all doomed."

It's: "This will be so great…if we don't screw it up."

Where I Write (permalink)

I learned to be a writer while my life was in total chaos. Decades later, I have a beautiful office to work in, but I still do my best writing typing hurriedly on subway trains, in taxi-cabs, and airport lounges.

https://www.cbc.ca/arts/finding-comfort-in-the-chaos-how-cory-doctorow-learned-to-write-from-literally-anywhere-1.5489363

My CBC column on where I write is really a primer on how I write: what it takes to be able to write when you're sad, or anxious, or wracked with self-doubt.

Unquestionably the most important skill I've acquired as a writer.

"Even though there were days when the writing felt unbearably awful, and some when it felt like I was mainlining some kind of powdered genius and sweating it out through my fingertips, there was no relation between the way I felt about the words I was writing and their objective quality, assessed in the cold light of day at a safe distance from the day I wrote them. The biggest predictor of how I felt about my writing was how I felt about me. If I was stressed, underslept, insecure, sad, hungry or hungover, my writing felt terrible. If I was brimming over with joy, the writing felt brilliant."

Stream 200+ global news channels (permalink)

TV News is an Android app that pulls like Youtube streams from 200+ global news channels in 50 languages, each manually selected by the app's creator, Steven Clift, whose work I've previously admired.

http://tvnewsapp.com/

You can filter the feeds by country and language and watch them as floating windows that let you continue to use your device while you watch. No registration required, either.

They're shooting for 1000+ channels soon.

AT&T's CEO fired 23,000 workers and gave himself a 10% raise (permalink)

Randall Stephenson is CEO of AT&T. Ajit Pai killed Net Neutrality so that Stephenson could legally slow down the services we requested to extort bribes from us. Then, Trump gave his company a $20B tax cut.

https://www.vice.com/en_us/article/nepxeg/atandt-preps-for-new-layoffs-despite-billions-in-tax-breaks-and-regulatory-favors

Stephenson used that money to raise exec pay, buy back his company's stock to juice its price and to pay off debts from earlier, disastrous mergers. He cut 23,000 jobs and slashed capital spending (America has the worst broadband of any rich country).

https://arstechnica.com/tech-policy/2019/05/att-promised-7000-new-jobs-to-get-tax-break-it-cut-23000-jobs-instead/

After all that, Stephenson congratulated himself on a job well done by giving himself a 10% raise in 2019, bringing his total compensation up to 32 million dollars.

https://arstechnica.com/tech-policy/2020/03/att-ceo-pay-rose-to-32-million-in-2019-while-he-cut-20000-jobs/

I mean the guy earned it. He blew billions of dollars buying Warner and Directv, and then lost billions more on the failed aftermath. If that doesn't warrant a raise, what does?

https://arstechnica.com/information-technology/2019/10/att-loses-another-1-3-million-tv-customers-as-directv-freefall-continues/

Chelsea Manning is free (permalink)

A judge has ordered that Chelsea Manning be released from jail, a day after her latest suicide attempt. She was jailed last March for refusing to testify before a grand jury, held in solitary for two months, then jailed again a few days later, in May, She's been inside ever since.

The judge ordered her release because the Grand Jury had finished its work.

https://www.courtlistener.com/recap/gov.uscourts.vaed.412520/gov.uscourts.vaed.412520.41.0.pdf

It's fantastic to that Manning got her freedom back, but she has been fined $256,000 for her noncompliance. I just donated to her fund:

https://www.gofundme.com/f/help-chelsea-pay-her-court-fines

(Image: Tim Travers Hawkins, CC BY-SA)

Rep Katie Porter forces CDC boss to commit to free testing (permalink)

I am a huge fan of Rep Katie Porter. Her outstanding questioning techniques and unwillingness to countenance bullshit from the people she questions are such a delight to watch.

Here she is demolishing billionaire finance criminal Jamie Dimon:

https://www.youtube.com/watch?v=2WLuuCM6Ej0

Oh, Ben Carson, you never stood a chance:

https://www.youtube.com/watch?v=sVWy3q2kmNM

Steve Mnuchin always looks like a colossal asshole, but rarely this comprehensively:

https://www.youtube.com/watch?v=78zpa0hQ1aw

I almost feel sorry for this Trumpkin from the Consumer Finance Protection Board as she faces Porter's withering fire.

Almost.

https://www.youtube.com/watch?v=gBaCc5VUHS8

Porter – an Elizabeth Warren protege – doesn't do this to grandstand. Like AOC, she uses her spectacular skills to elicit admissions and get them on the record, and to hold Congressional witnesses to account.

Today, Porter attained a new peak in a short, illustrious career. That's because today was the day she questioned CDC assistant secretary for preparedness and response Robert Kadlec, asking him to clarify Trump's televised lie last night that insurers would pay for Covid-19 testing.

https://twitter.com/RepKatiePorter/status/1238147835859779584

Porter doggedly held Kadlec to account, forcing him to acknowledge that the cost of a Covid-19 test – $1,331 – was so high that many would forego it, and then to admit that these Americans could go on to transmit the disease to others, making it a matter of public concern.

Then she forced CDC Director Robert Redfield to admit – as she had informed him in writing the week before – that the CDC had the authority to simply pay those fees, universally, for any American seeking testing, under 42 CFR 71.30:

https://www.govinfo.gov/content/pkg/CFR-2019-title42-vol1/xml/CFR-2019-title42-vol1-part71.xml#seqnum71.30

Having laid this factual record, Porter insisted that Redfield commit to using that authority. Not to consider it, study it, or consult on it. To use it to help save the country. Whenever Redfield waffled, she reclaimed her time and forced him back on point.

KP: Dr. Redfield, will you commit to the CDC, right now, using that existing authority to pay for diagnostic testing, free to every American, regardless of insurance?

RR: Well, I can say that we're going to do everything to make sure everybody can get the care they need –"

KP: Nope, not good enough. Yes or no?

RR: What I'm going to say is, I'm going to review it in detail with CDC and the department —

KP: No, reclaiming my time [repeats the question]

RR: What I was trying to say is that CDC is working with HHS now to see how we operationalize that

KP: Dr. Redfield, I hope that that answer weighs heavily on you, because it is going to weigh very heavily on me and on every American family

RR: Our intent is to make sure that every American family gets the care and treatment they need at this time in this major epidemic and I am currently working with HHS to see how to best operationalize it.

KP: Excellent! Everybody in America hear that — you are eligible to go get tested for coronavirus and have that covered, regardless of insurance

[Curtain]

Trump's unfitness in a plague (permalink)

In this editorial, Science editor-in-chief H Holden Thorp makes a compelling case that Trump is not capable of leading the American response to Covid-19.

https://science.sciencemag.org/content/367/6483/1169

Trump has spent years denigrating and ignoring science before taking office, and it's only gotten worse, since.

As Thorp writes, "You can't insult science when you don't like it and then suddenly insist on something that science can't give on demand."

His policy track-record is even worse: "deep cuts to science, including cuts to funding for the Centers for Disease Control and Prevention and the NIH…nearly 4 years of harming and ignoring science."

This reminds me of an argument I often have with digital rights activists who attribute bad technology policy to the inability of clueless lawmakers to understand the technical nuance. I think that's wrong. The fact that we're not all dead of cholera, even though there are no microbiologists in Congress proves that you don't need to be a domain expert to make good policy.

Good policy comes from truth-seeking exercises in which experts with different views present their best evidence to neutral adjudicators who make determinations in public, showing their work in explicit, written, public reasoning. These processes are made legitimate – and hence robust and reliable – by procedural rules. The adjudicators – regulators, staffers, etc – are not allowed to have conflicts of interest. Their conclusions are subject to the rule of law, with mandatory transparency and a process for appeal.

It has to be this way: there's no way that – say – a president could be an expert on all the different issues that might arise during their tenure.

This, then, is the problem with inequality and market concentration: it merges the referees with the players. When an industry only has a handful of players, they all end up with common lobbying positions – a common position on what is truth. That's because the C-suites of these five companies are filled with people who've worked at two, three or four of the competitors, and are married to others who've worked at the remainder. They're godparents to one anothers' kids, executors of each others' wills.

There's no way for there NOT to be collusion in these circumstances.

And when an industry is that concentrated, the only people who understand it well enough are those same execs, so inevitably the regulators are drawn from the industry.

That's why Obama's "good" FCC Chair, Tom Wheeler, was a former Comcast lobbyist, and why Ajit Pai, Trump's "bad" FCC chair, is a former Verizon lawyer. Apart from Susan Crawford, there's not really anyone who's not from the top ranks of Big Telco qualified to regulate them.

So many of us saw the photo of Trump meeting with all the tech leaders and were dismayed that they were throwing their lot in with him.

But we should also be aghast that all the leaders of the industry fit around one modest board-room table.

https://techcrunch.com/2016/12/14/donald-trump-meets-with-tech-leaders/

The problem with Trump's Covid-19 response is that he does not believe in a legitimate process with neutral referees. The refereeship, in trumpland, is an open-field auction, a transactional process that works best when it enriches Trump and his party.

The problem of Trump taking charge of the epidemiological crisis of Covid-19 isn't that he doesn't understand science: it's that he doesn't believe in evidence-based policy.

He is part of the cult of "Public Choice Theory," the belief that there is no one who can serve as referee without eventually colluding with the players for their mutual enrichment, a cynical, nihilistic philosophy that holds that there's no point in seeking to govern well. These people project their own moral vacuum onto all of humanity, a kind of cartoon Homo Economicus who is incapable of anything except maximizing personal utility.

For these people, the existence of bridges that don't fall down and water that doesn't give you cholera are lucky accidents, not results of sound policy and careful truth-seeking. They reason that since they would take bribes to poison the water of Flint, so would everyone.

Trump isn't just a non-expert, he's an ignoranamus, but that's not the problem. The problem is that he is a nihilist, someone who doesn't believe that truth-seeking is even possible.

Malware that hides behind a realtime Covid-19 map (permalink)

Hackers have developed a malware-as-a-service that packages up realtime Covid-19 maps with malware droppers that infect people who load them.

https://krebsonsecurity.com/2020/03/live-coronavirus-map-used-to-spread-malware/

This reminds me intensely of Peter Watts's 2002 novel Maelstrom, in which Watts uses his background as an evolutionary biologist to posit an eerily plausible and devilishly clever way that a digital and a human virus could co-evolve.

https://rifters.com/real/MAELSTROM.htm

This has stuck with me! In May 2018, I wrote about it in Locus Magazine:

http://locusmag.com/2018/05/cory-doctorow-the-engagement-maximization-presidency/

Maelstrom is concerned with a pandemic that is started by its protago­nist, Lenie Clark, who returns from a deep ocean rift bearing an ancient, devastating pathogen that burns its way through the human race, felling people by the millions.

As Clark walks across the world on a mission of her own, her presence in a message or news story becomes a signal of the utmost urgency. The filters are firewalls that give priority to some packets and suppress others as potentially malicious are programmed to give highest priority to any news that might pertain to Lenie Clark, as the authorities try to stop her from bringing death wherever she goes.

Here's where Watt's evolutionary bi­ology shines: he posits a piece of self-modifying malicious software – something that really exists in the world today – that automatically generates variations on its tactics to find computers to run on and reproduce itself. The more computers it colonizes, the more strategies it can try and the more computational power it can devote to analyzing these experiments and directing its randomwalk through the space of all possible messages to find the strategies that penetrate more firewalls and give it more computational power to devote to its task.

Through the kind of blind evolution that produces predator-fooling false eyes on the tails of tropical fish, the virus begins to pretend that it is Lenie Clark, sending messages of increasing convincingness as it learns to impersonate patient zero. The better it gets at this, the more welcoming it finds the firewalls and the more computers it infects.

At the same time, the actual pathogen that Lenie Clark brought up from the deeps is finding more and more hospitable hosts to reproduce in: thanks to the computer virus, which is directing public health authorities to take countermeasures in all the wrong places. The more effective the computer virus is at neutralizing public health authorities, the more the biological virus spreads. The more the biological virus spreads, the more anxious the public health authorities become for news of its progress, and the more computers there are trying to suck in any intelligence that seems to emanate from Lenie Clark, supercharging the computer virus.

Together, this computer virus and biological virus co-evolve, symbiotes who cooperate without ever intending to, like the predator that kills the prey that feeds the scavenging pathogen that weakens other prey to make it easier for predators to catch them.

Locked-down Siennese sing their city's hymn (permalink)

In times of crisis, we typically pull together, but elite panic's pervasive mythology holds that these moments are when the poors reveal their inner beast and attack their social betters. That libel on humanity is disproved regularly by our everyday experience. As common as these incidents of solidarity are, they still warrant our notice.

The Song of the Verbena is the hymn of the Italian city of Sienna, currently on lockdown.

https://it.wikipedia.org/wiki/Canto_della_Verbena

This video of Siennese people singing their hymn from the windows of their houses, into their empty street, is one of the most beautiful, hopeful things I've seen this week.

Truly, it is a tonic.

https://twitter.com/valemercurii/status/1238234518508777473

This day in history (permalink)

#5yrsago NYPD caught wikiwashing Wikipedia entries on police brutality https://web.archive.org/web/20150313150951/http://www.capitalnewyork.com/article/city-hall/2015/03/8563947/edits-wikipedia-pages-bell-garner-diallo-traced-1-police-plaza

#1yrago Gimlet staff announce unionization plan following Spotify acquisition https://www.theverge.com/2019/3/13/18263957/gimlet-media-union-spotify-recognition-podcasts

#1yrago With days to go until the #CopyrightDirective vote, #Article13's father admits it requires filters and says he's OK with killing Youtube https://www.golem.de/news/uploadfilter-voss-stellt-existenz-von-youtube-infrage-1903-139992.html

#1yrago Spotify's antitrust complaint against Apple is a neat parable about Big Tech's monopoly https://www.wired.com/story/spotify-apple-complaint-warren-antitrust-issue/

#1yrago A critical flaw in Switzerland's e-voting system is a microcosm of everything wrong with e-voting, security practice, and auditing firms https://www.vice.com/en_us/article/zmakk3/researchers-find-critical-backdoor-in-swiss-online-voting-system

#1yrago McMansion Hell tours the homes of the "meritocratic" one-percenters who allegedly bought their thickwitted kids' way into top universities in the college admissions scandal https://mcmansionhell.com/post/183417051691/in-honor-of-the-college-admissions-scandal

Colophon (permalink)

Today's top sources: Empty Wheel (https://www.emptywheel.net/), CNN (https://cnn.com), Memex 1.1 (https://memex.naughtons.org/), Slashdot (https://slashdot.org).

Hugo nominators! My story "Unauthorized Bread" is eligible in the Novella category and you can read it free on Ars Technica: https://arstechnica.com/gaming/2020/01/unauthorized-bread-a-near-future-tale-of-refugees-and-sinister-iot-appliances/

Currently writing: I've just finished rewrites on a short story, "The Canadian Miracle," for MIT Tech Review. It's a story set in the world of my next novel, "The Lost Cause," a post-GND novel about truth and reconciliation. I've also just completed "Baby Twitter," a piece of design fiction also set in The Lost Cause's prehistory, for a British think-tank. I'm getting geared up to start work on the novel next.

Currently reading: Just started Lauren Beukes's forthcoming Afterland: it's Y the Last Man plus plus, and two chapters in, it's amazeballs. Last month, I finished Andrea Bernstein's "American Oligarchs"; it's a magnificent history of the Kushner and Trump families, showing how they cheated, stole and lied their way into power. I'm getting really into Anna Weiner's memoir about tech, "Uncanny Valley." I just loaded Matt Stoller's "Goliath" onto my underwater MP3 player and I'm listening to it as I swim laps.

Latest podcast: A Lever Without a Fulcrum Is Just a Stick https://archive.org/download/Cory_Doctorow_Podcast_330/Cory_Doctorow_Podcast_330_-_A_Lever_Without_a_Fulcrum_Is_Just_a_Stick.mp3

Upcoming books: "Poesy the Monster Slayer" (Jul 2020), a picture book about monsters, bedtime, gender, and kicking ass. Pre-order here: https://us.macmillan.com/books/9781626723627?utm_source=socialmedia&utm_medium=socialpost&utm_term=na-poesycorypreorder&utm_content=na-preorder-buynow&utm_campaign=9781626723627

(we're having a launch for it in Burbank on July 11 at Dark Delicacies and you can get me AND Poesy to sign it and Dark Del will ship it to the monster kids in your life in time for the release date).

"Attack Surface": The third Little Brother book, Oct 20, 2020. https://us.macmillan.com/books/9781250757531

"Little Brother/Homeland": A reissue omnibus edition with a new introduction by Edward Snowden: https://us.macmillan.com/books/9781250774583

[naruhearts]

14x10: Dean Free Will Winchester, Destiel, TFW, and the Only Win

Originally posted by michaeldean

*trips over feet*

I still have no proper words re: the seamless interconnections of TFW/Dean/Emotional Arc-centric meta that most of the meta community has already yelled and written extensively about since S12. 14x10 was a META EXPLOSION, my friends. I had complete chills!! Yockey’s magnificent soup lent us years of Dean/TFW-characteristic meta narratively realized like some colourful picnic basket of psychology.

I’m sure I missed some awesome stuff considering I haven’t rewatched it yet, but for now, here’s my semi-coherent first-impression thoughts (some of which I copy-pasted from twitter) under the cut!!

On the other hand, if you don’t want to read this massive post, it can be succinctly summarized in one phrase:

Originally posted by @intelligentshipper

Dean is the cage. Man, yes I know, the NARRATIVE WEIGHT AND SYMBOLISM OF DEAN LOCKING HIMSELF UP; Dean’s possibly in “physically rough shape” (translation: emotionally rough shape) inside the cage he built for himself. As the Master of Repression and Locking Up Emotions, this unhealthy psychological mechanism in this case becomes his controlled strength against the core of his trauma and everything Michael represents *points at Dean meta* therein lies the beautiful paradox of the human condition. Dean Humanity Winchester is the poster boy for it. It’s all led to this! Don’t you love when our characters undergo self-translation from unwanted/coerced destiny to chosen role (after Michael manipulated Dean’s freely given “Yes”. And recall the same key theme with Sam occupying the position of Gatekeeper to Hell re: Lucifer trauma in 14x01)? 

x

14x10 in itself offsets the rest of what we’re gonna see characteristically as per TFW’s individual narrative journeys (and Destiel arc; we’ve observed the continuation of Dean and Cas role reversals as per usual, with Mind!Pamela and Father Figure Michael serving as heavy-hitter Casifer-reminiscent exposition). “Nihilism” and “Damaged Goods” paired through subversion, where Dean going on a ‘suicide’ mission via imprisoning himself with Michael isn’t done out of SOLE low self-worth (don’t get me wrong, he still hasn’t fully emancipated himself yet) but mostly 50% low self-worth and 50% martyrdom for his loved ones. Toxic codependency is no longer the basis of Dean’s self-sacrificial choices, but LOVE AND…LOVE. However, Dean still assumes he deserves to imprison himself. Michael capitalizes on Dean’s depressive trauma and low self-worth in that his conditioning since childhood to internalize self-blame for Sam and Cas’ problems - the world’s problems - works in the Archangel’s favour. He both projects Dean’s fears onto Sam and Cas then breeds their self-doubt by framing them as lacking genuine altruistic value to Dean and hitting TFW where it hurts altogether. A double-double coffee of anguish. 

Here we come back to Michael’s overarching role this season as the Harbinger of Truth (as I wrote about when the season first began x x) 

Michael!Dean assumes he knows what people want, and yes, maybe in some respects he does in fact know, but I mentioned that he distorts a person’s sense of “worthiness to be saved” (oh, I wonder where I heard that previously) by exploiting their self-hate/respective mental uncertainty of their wants vs needs.

That’s the GOLD about Michael’s role: he’ll be uncovering an entire interpersonal discourse on the characters figuring out (and using their damn communicative skills to accentuate) what they WANT vs. NEED. Again, clarification of truths. 

In 14x10, we were largely reminded of Michael and his intrinsic link to S14′s themes and TFW (copy-pasted from my 14x01 review meta; meta builds and builds on itself!):

WHAT DO YOU WANT, A New Beginning (a New World Order, a Better World in Michael’s case reminiscent of S6/7 like I expected. Michael is the absolute antithetical figure to Dean Humanity Winchester, who is blinded by authoritarianism), Love Is Weakness (Love is also STRENGTH, and different kinds of love exist, where we see more singular vs plural dialogue e.g. Cas’ “You have me. You have all of us”) and Family Is Unity.The fact that Michael is the one asking people what they want, specifically directing it to Anael the Destiel/Cas mirror (which she was in 13x13), bodes VERY well for me. He’s going to hold a key overarching position in the clarification of truths and Want Vs Need for TFW with significant flavours of past Eldritch Expositional Big Bads like Amara. Anael is feeling a lack of kinship. She desires belonging. A home. And it’s all very human of her. Because of this emotionality, Anael has FALLEN.

What is your truth? Confront your truth. Accept what you see in the mirror (like I was saying the other day) and glue that broken reflection back together into something empowering. Honest. Genuine. Self-actualizing. And considering Dean is imprisoned within his own body (confinement/imprisonment was again tangible across the episode both plot, visual, and characteristic-wise where TFW, impacted by Dean the Heart Hero’s absence, left a gloomy sense of detachment, helplessness, expendability, and failure internalization) and considering Dean is no doubt hearing Michael reiterate this main thematic question has me buzzing with the joys of self-introspection!!

What do you want, Dean Winchester? What do you want, Cas? What does everyone want?

**Michael additionally gauges the purity of potential recruits for his Supermonster army via hunger. What are you hungry for? What do you crave? Seemingly calls back to S5 Famine and the emptiness derived from losing something alongside experiencing trauma. And when Michael offers you the misleading opportunity, will you take it? Are you worthy? Michael distorts worthiness (Dean’s worthiness; indeed, Dean fills the episode’s negative spaces) by exploiting self-hate. Cas enhances (Dean’s) worthiness by providing freedom.

The “turning point” between Dean and Cas in 12 may actually be Dean saying goodbye (then perhaps finding out about Cas’ deal; we shall see). This could call back to 11x23, where Dean was also surrounded by his family pre-sacrifice. Dean thinking he needs to “die” - to lock himself up - in order for them to win may segue into TFW “wishing” things were different, thus somehow inducing John’s return (and possibly Chuck’s re: Daddy Issues) in 14x13.

Dean wasn’t left alone at the end of the episode. His family - Sam and Cas - were there with him as the wonderful antithesis re: Michael isolating Dean. Separating family ends up unifying family, BUT like I said above, he was still able to hit them where it hurt. Michael the Manipulator used words to twist their thoughts into self-doubt - sow self-discord, yet TFW worked as a unit to strike back. Lessons learned: stronger together, weaker apart.

x

Sam and Cas occupying the dark Empty-parallel space in Dean’s mind. His MIND was an EXPOSÉ. ALL THE TRAUMA, and it’s incredibly significant that we observed Cas scanning Dean’s traumatic memories (obviously he’s an angel, but the meta undercurrents of this killed me). Cas has now actually seen/felt/heard Dean’s trauma, anguish, and long-running depression instead of Dean using his words to tell him about such trauma; it’s ingenious storytelling, not to mention Sam introspecting over Dean’s own trauma in order to find him was SUPER uplifting and META ironic --> Finding Dean involves happiness. Most importantly, Cas was witness to Dean’s low self-worth, negative self-process, failure internalization, and fear of the future without blinking, yet he also displayed total worry, compassion, and barely concealed panic - as if he couldn’t bear to think about the multilayered traumatic prison that Michael trapped Dean within. Sam said “Dean is strong.” Cas replies that Dean is “more than strong.” To Cas, Dean’s strength of mind, body, and soul shines, and this is why he’s in love with this man - his charge. He loves him in the face of his trauma and past mistakes. Once I have time, I should discuss the memories we heard, but of course they involve his time in Hell (and his S3 mirror telling him he will become a demon. Moc/Demon!Dean callbacks). 

CAS: So much. So much trauma in Dean’s mind. There’s so many scars.

SAM: Well yeah. Dean’s been through a lot, but he’s strong.

CAS: Sam...you’ve both been through a lot, and Dean is more than strong [...] Because Michael has Dean trapped away - drowning - I have to wade through Dean’s most terrible memories.

SAM: Would Michael bury Dean in trauma? Michael said it himself. The reason he left Dean in the first place was because Dean was fighting back so hard. 

CAS: So if Michael wanted to keep Dean placated--

SAM: Dean thrives on trauma. He’s had to his whole life. It keeps him alert -- keeps him ready. But if I wanted to distract Dean, I’d give him something he’s never had before.

CAS: Contentment. 

x

(**Sam’s right, but he’s also wrong. Dean “thrived” on trauma because he had to as the consequence of a misguided John-imbued childhood, where he mostly skipped over the innocent era of being a healthily developing child and became an adult overnight: father, mother, and brother rolled into one. A good little soldier, and he created various masks of performativity in response to trauma. Multiple tiny seeds of self-doubt grew into worthless that then bred emotional misarticulation, repression, and psychological instability. x)

14x10 majorly ties into SPN’s season-long storytelling commentary on TFW’s perception of Happiness and the overarching themes of Happiness vs Sadness. Cas stated to Jack how The Life™ rarely gives oneself happiness last episode. Ultimately, can you believe Dean’s accrued trauma has been textualized like this?! 

Michael knows that Dean has never been happy. 

Dean never lets himself have what he wants to have nor be who he wants to be. He is entrapped by fearing real happiness, and his trauma holds him back from achieving what he wants - continues to make him believe that he doesn’t deserve to be content.

And Dean certainly wants Cas. He is fully cognizant and self-aware of this fact. Narratively reconsolidated in musical exposition by the Marshall Tucker Band’s “Searchin’ for a Rainbow”, Dean searches for the rainbow endlessly, but he’s uncertain…afraid of the wind’s flow (and his internalization of low self-worth remains –> he believes “all good things come to an end”. Temporary contentment, where he’s undeserving of such good things as epitomized by real estate woman who wants to infringe on Dean’s property/dream; ‘sell it out’ literally and figuratively).

Either Dean will find his pot of gold waiting for him, or he won’t, and this is the underlying star-crossed literary beauty of the D/C narrative.

Dean’s sick of pretending. He WANTS the wind to show him the way, but we must remember that, in an episode rich with the concept of authorial authority - writing your own fate and ever-glaring Free Will - he NEEDS to blow the wind himself. If he just allows himself to believe that he can have true happiness, then he will.

*I SCREAM, YOU SCREAM, WE ALL SCREAM FOR META-INTROSPECTION!* 

Michael’s “I Am You” —> Dean knows he is Michael - the reflection who embodies all the dark parts of himself, just like Dark!Kaia underlined - but he also knows he isn’t Michael, and Dean will use it to his advantage. Dean has what Michael lacks: FAMILY. x

“EVEN GOD CAN DIE.” This cracks open so many parental absenteeism eggs. Cas’ conversation with Michael over Chuck, the ultimate deadbeat absent father figure, was simply an outlet for Michael to attribute his self-righteously immoral actions to his fatherly abandonment. Bitterness. And Cas, more humanized than ever, is aware of Michael’s shortcoming: “confusing loyalty and compassion with weakness”, thus these perceived “weaknesses” are foils to Michael’s preference for isolation, solitude, mercilessness, betrayal, and hatred.

 MICHAEL: Playing nursemaid to a nephilim. Nothing like the Castiel I knew. He would’ve never been so...anemic. 

Loyalty and compassion are human traits - despised by most angels such as Naomi and Ishim; belittled by Michael - that Cas recognizes and practices. *human!Cas feelings* He has evolved, and as I said in my 14x01 Cas meta: 

Earth [is] the true home of Cas the Fish, which bridges his intrinsically human emotionality/disposition as an ex-Angel of The Lord to his sense of belonging. Growing legs to replace fins. Evolution of character. And Dean Winchester, right from their point of contact in Perdition, was the driving spark for his evolution.

“It’s all you,” Dean says to his reflection in the mirror, a repeated mantra, as Michael tries to break out of Dean’s mind, bringing my pre-14x01 meta of MIRRORS to light!! Dean confronted the reflection of himself that he has always hated, where the deep-seated worthlessness that he must eliminate is buried with Michael -- the narrative embodiment of Dean’s toxic shackles: predeterminism, Brodependency, parental absenteeism, repression, toxic misemotionality, and blunt tool expendability as his father’s hammer and society’s hammer. I adore Dean’s consistent self-awareness over the seasons as he learns to differentiate what he can and cannot control. And Michael is jailed inside a FRIDGE *light bulb explodes* It’s time to achieve self-actualization. Sure progress.

DEAN’S “ROCKY’S BAR” EASTER EGGS, MIND!PAMELA BARNES AND DESTIEL

Rocky’s Bar (Rocky & Bullwinkle & Friends!!) was an EASTER EGG meta dream set by Wanek, with thematic colours of blue (depression, loneliness, and isolation -- blue is immediately evoked as soon as Dean starts gaining self-awareness of his past trauma-laden life and remembers the real Pamela), dim reds and somber yellows. GOOD STUFF!!

@intelligentshipper​ wrote/gathered superb colour meta on this consistent palette of Self + Depression this season - RED || BLUE & YELLOW || I’ve also briefly touched upon the recurring hues that we saw in another hardcore meta episode: Scoobynatural 13x16.

Hello bisexual colours (pink, purple, blue in this setting; observe the metaphor of this very moment - Repressive Toxic Past/Paternal Figure Michael wrestling for dominance over Dean. We live in a meta world.)

Without sounding redundant, here’s the list of Easter Eggs by sasquatchandleatherjackets/mittensmorgul. 14x10 bursts with so much symbolism that it warrants >2 rewatches!

SEARCHIN’ FOR A RAINBOW by the Marshall Tucker Band playing in Dean’s bar (see above):

I rode into town today In my mind, I said 'Lord I'd like to stay' Something in me said boy, move on Don't know what it is the good lord bred it in my bones

And I'm searchin for a rainbow, and if the wind ever shows me where to go, you'd be waiting at the end and I know, I'd see the hill with that pot of gold.

This old mount I'm ridin', she's gettin' kinda' tired But in my heart she knows there's this one desire She's gonna' take me to the end of our road

One of my favourites: the Daphne Loves Fred carved on the bar counter!! Fred, who represented Dean’s healthy masculinity -- was loved by Daphne, the dual counterpart of Dean’s non-repression: the side of him that adores wearing pink nightgown dresses, pink satin panties, vegetable water, romcoms and romance novels...the side of him that adores and embodies everything defined as “feminine” within a heternormative patriarchy. Reiterating past meta, Daphne also symbolized the traditional poster woman he should be attracted to, but never truly obtains for himself. Why? Because his true desires break tradition, and Dean’s subconscious knows this. They break his harrowing past of repression and psychological toxicity. They throw away what John Winchester wanted for him. x

 And in this--

FB = Winchester “Family Business” = Jensen’s Family Business Beer Co, with FOX RYE and (phallic-shaped) COSMIC COWBOY as FBBC drinks (and the latter evoking 13x06 Space Cowboy and Cowboy!Cas. This episode, guys. WOW.) 

Moving onto Michael’s subtextually telling construct of Pamela Barnes --

x

Mind!Pamela, well, she blew MY mind! @thetwistedwillow already describes amazing crucial points here. And let me provide commentary on the riveting and pertinent subtextual D/C double whammy of their office scene together:

DEAN: How come you always have a boyfriend?

PAMELA: How come you only want what you can’t have? You don’t want me -- you just like to flirt. Besides, I’m a psychic, so I kinda know.

DEAN: All right.

Mind!Pamela asking Dean why he only wants what he can’t have, linked to Pamela having a boyfriend, establishes romantic connotations. Pamela was D/C exposition.

There’s truth in jokes. Pamela's lines to Dean could be construed as genuine interest, but Yockey actually shot that down via Pamela confirming that the flirting is just for fun, with Dean not actually wanting her, and it nudges at the Destiel context. To me, if you move this outside the D/C context, it would make no sense, because the real Pamela did kiss Dean. They had a passing attraction to each other. Why not have them kiss again, then? Well, Pamela encapsulated both Dean’s subconscious psyche and Michael’s mouthpiece. And by Freudian design, both Dean and Michael know who he truly wants. 

Cas is once again ensconced in the negative spaces.

Keeping in mind that Michael has seen Dean’s memories and feelings via possessing him, Michael’s construct of Pamela in the bar setting was, in certain respects, his unsaid Empty-parallel statement: “I know who you love - what you fear.”

Dean wants what he can’t have. He still thinks he doesn’t deserve Cas, and indeed, in his heart of hearts - in the deepest crevices of his being - Michael knows (like most Expositional Eldritch Villains do e.g. S11 Amara) who he loves and what he fears (manipulating Dean’s fears into snake-tongued attacks on Sam and Cas; those statements aren’t true, but human beings are contradictory, and Dean thinking such things about them long ago can still plant self-doubt today, but TFW are strong, and it’s all about conquering negative self-process to come out on the other side unscathed. I mean oh boy, we thought Lucifer was the prime expert on manipulation. Michael’s just as bad as his brother, if not worse.)

Dean is in love with the angel “who gripped you tight and raised you from perdition” (spot-on impersonation by Jensen) and Michael knowing the exact words then punches me in the feels because it’s a profound line...the iconic line verbalized by Cas to Dean in 4x10 Lazarus Rising that offset their love story later on. It’s the prime beginning.

x

To me, Michael hereby implies that he saw Dean’s memory of the first time he set his eyes upon Cas, and that it’s a highly valued memory which caused Michael to taunt it in the first place.

Like others have already pointed out as well, Dean’s memory of Pamela shows True!Form Cas blinding her in 4x01, and that certain memory, on an intriguing note, successfully breaks Dean out of the dream construct.

Since I don’t want to subject my readers to longer rambling, more of my meta on Pamela Barnes, Destiel, and the 13x06 Tombstone M/F Destiel-coded cowboy cutouts in Dean’s Mind Bar can be found here (with some repeated points that you’ve read throughout this post): http://naruhearts.tumblr.com/post/182144879031/14x10-destiel-cowboys-and-pamela-barnes

- - - - 

TL;DR sign me up for the necessary pain!! All the TFW storytelling threads of the last few seasons consistently pushing SPN’s primary themes of Family, Unity, Love and…Love, New Beginnings, Self-Actualization and, of course, mental/emotional CATHARSIS from the old toxic past, will come together. 

On another Destiel-adjacent note: Dean and Cas, their narratives running parallel to each other like they always have (especially since S12), are making the toughest, selfless, and sacrificial choices to save their loved ones (via Michael and Empty) and achieve the greatest win of all: living, hoping, and trusting interdependently.

And then Sam -- additionally making an impossible non-toxic codependent decision that I definitely believe is him giving Dean the go-ahead for self-imprisonment -- will encounter John in Endverse-adjacent AU!AU. *rubs hands together* CHARACTER DEVELOPMENT AHEAD.

DEAN’S CAGE/SARCOPHAGUS, 14x11 PROMO, AND FREE WILL

(Screenshot by me from my TV lol)

Obviously we saw very little of 14x11. But I saw enough to flail over it!! 

Dean built a coffin - a sarcophagus for himself. A Pandora’s Box, as coined by @thetwistedwillow who also screamed with me in terms of the heartbreaking circular narrative of Dean’s S14 ‘burial’: simultaneously punishing himself and protecting the world from his failures --> the dual subtext of Dean’s return to ashes that naturally leads to resurrection. Lazarus Rising to Lazarus Dying. 

x

Aka Dean imprisoning himself via isolation on his own free will and ultimately subverting Michael’s efforts to imprison Dean via coercion and possession.

I can’t even believe the sheer metaphorical symbolism of this!! CLOSET!BOX. Seriously. Again, years of Dean meta (and queer Dean meta) roped together in an angsty paradoxical basket by Yockey and co.

For Dean to emancipate himself—and save his loved ones + the world—he’s gotta imprison himself with the current source of his trauma (Michael) as well as deconstruct and deal with all the other remaining trauma he bottled up. Lazarus will rise again.

As Billie says, every single one of Dean’s endgame deaths were rewritten (this textualized TFW as the harbingers of their own destiny, where Dean himself “broke enough rules” to get his endgames rewritten!! I can’t tell you enough how gorgeous that is.), and they all end the same way, with Michael breaking free and using Dean to burn the world to the ground...EXCEPT FOR ONE.

(I had to) x

x

Guys, I’m burning with curiosity!! What endgame did Dean see? Utter shock was written across his face -- an intense disbelief and surprised demeanor, topped off with what seemed like tears in his eyes -- that gave me pause. 

DEAN: What am I supposed to do with this?

BILLIE: That’s up to you.

That’s up to you --> Anubis said: Death, the reapers, and even God have no say. All the rules? All the cosmic constraints? They’re just useless in itself. They pass away. There are no rules. TFW “broke the rules” over and over and over again because they can.

A person’s choices in life dictate their fate.

“It’s about the journey, not the destination.”

In 4x03 In The Beginning (this title, y’all - authors and stories!!), no matter what Dean did to try and kill Azazel so that the subsequent murders of Mary’s parents, John, and the penultimate deal to resurrect John at poor Sammy’s expense are avoided, Dean realized that he could not alter Mary’s choices. Azazel still ended up poisoning Sam with demon blood. He couldn't influence her endgame because she wrote it herself in conjunction with external parties Cupid and Heaven (huh, forced free will paradox). At the same time, Mary’s journey invokes the key subverted difference of the Dean/Cas vs Mary/John parallel narrative which is fundamentally important to remember -- Free Will vs Destiny. Chosen Love vs Fated Love. Mary freely operated on fate’s influence, while Dean and Cas’ first meeting proliferated into a love story no one has ever foreseen, where they both defied subservient expectations and destiny fulfillment. 

From the first point of contact, Dean and Cas seared their influence upon the other in the form of a profound brand. 

x

Dean and Cas can make their own choices -- and have done so -- outside of predetermined plans for them. Dean and Cas’ love in itself blossomed out of free choice. Through rough seas, high tides, bright beaches, and hellfire, their love proved impervious. It was impervious to Heaven, Hell, reapers, and any supernatural force we’ve observed that tried to split them apart over the course of the show.

Attempting to constrain (Love and...) love, the greatest and most powerful force in the universe, is impossible.

The Second Law of Thermodynamics: chaos in the universe, which is the ultimate isolated system, only increases and never decreases.

Cosmic constraints all boil down to, well, nothing. We write our own fates. Michael failed to understand this concept. Destiel/TFW weren’t “defying” rules but acting as human beings with inherent agency the whole time. They are the authors and actors of their lives. Heaven/Hell despised humanity’s free will, when God’s miracle was truly his “mistake”: his draft worlds and giving humans free will. The flawed drafts = the universe becoming increasingly more chaotic.

It’s futile to enforce constraints, labels, and norms. Dean is absolutely narratively framed as the prime Death. The death one encounters depends on one’s choices.

In sum, Dean must LET IT GO. Do what you want to do, not what you need to do, though they go hand-in-hand. Drawing upon the last few seasons pertaining to baptism of the Self and interpersonal relationships, this includes communication, transparency, and quality time together.

x

As I’ve said here regarding 14x07 and Jack’s mirror role: 

We had these wonderfully poignant moments pushing back Dean’s performance: exposing the core of his heart wrapped up in the walls of trauma, guilt, and crippled self-process. Dean sees his Free Self, who is waiting…encouraging him to let go and live life to the fullest.

His Free Self is starting to break the water’s surface — has been doing so this entire cathartic S14 narrative of looking in the mirror (actively hammered down in 14x04/5/6).

Dean’s realizing that yes, life may not be all these big, amazing moments. There’s numerous valleys of pain, horror and death. But there’s also numerous rivers of optimism and joy (hello to the river they visited in this episode. It pretty much re-consolidated SPN’s Rebirth/New Beginning themes carrying over from S12: a baptism of the self and interpersonal relations). Family and friendship. Faith and love. He simply needs to cast his line, catch the fish Cas, and pull it out of water for good aka make the dreams, wants, and desires reality.

As @thetwistedwillow pointed out, Dean’s initial offer to head out to a potential hookup bar was a foil for Jack the Non-Performative mirror of Dean: the wingman move winking at the old (DYING) remnants of his John-polished performativity and calling back to Dean bringing newly minted Cas to the brothel in Free to Be You and Me, in that the night took an unexpectedly not-salacious but sentimental turn. That night, Dean hasn’t laughed so hard in years, even with his own brother.

8 years later, Jack knew what Dean’s heart truly wanted. He felt it. Jack rejected the hookup offer precisely because — just last episode — he perceived Dean’s natural tune. It was casual sex, shacking up, and adios (yes postmodernmulticolouredcloak) no longer. It was romance and courting before dating, which involved emotional exploration and ding ding ding, spending time together (also both on the familial and romantic levels -> BEING THERE with Dean: the key gesture conveying that he deeply matters to you, and you matter to him). Jack wanted the same thing, too.

It all comes full circle. Free to be you and me indeed, since Dean’s almost free of John’s ghost, as a father, brother, and husband. We’ll be here to witness his complete emancipation.

14x10 textualized Free Will and the neverending stories of neverending stories of neverending stories: we can do what we want by formulating our own rules, and each individual has a moral compass influenced by their differing experiences.

Whatever Dean’s seen -- we don’t know what he saw, and we may not EVER know, and it’s literally pure conjecture at this point, but for the sake of meta speculation...legitimate HAPPINESS? His dream bar epitomized in real life but even better, where the realism of it involves not having to sell out ANYTHING nor sell out HIMSELF? Retirement? Dying from old age? Marrying Cas? The ACTUAL beach, toes in the sand, umbrella drinks, with matching Hawaiian shirts? General BAD things leading to good things? Yes, this is Supernatural, and as Cas put it in 14x09: no one can experience permanent happiness in The Life™ , but recall subversion. Death preceding Life - the natural cycle - persists. Dabb & Co have created an SPN narrative plethora of New Beginning cyclism for a while now, so of course I have no doubt that a positive endgame is in the cards -- whatever Dean’s read has stimulated Dean’s motives to build his sarcophagus. He thinks he has an idea of what to do to get to this endgame or (what I expect/hope is) Happy Death?

Heck, in the 14x10 context of Author God, writing drafts, and reaper books -- what if his ending is: 

TA-DA!

It’s up to Dean to write his own ending. He has a blank slate as Author of his life.

The possibility of this blank slate ending as a win at first glance seems to entail the worst kind of choice -- since we all know repressing your trauma and emotions aka locking yourself up breeds maladaptive unhealthiness in the long run -- but it’s an absolutely necessary choice. The final countdown before self-actualization.

I kept saying it last season and I’ll say it again --

Dean Depressed Winchester must “die” so that Dean Self-Actualized Winchester can live. Dean building Pandora’s Box - CLOSET!BOX - for himself is LITERALLY an amalgamation of ‘Deal with your Trauma & Self’.

He should open the closet of happiness, embody self-acceptance, and go after what makes him happy -- what makes him psychologically wholesome, for Cas himself, Dean’s narrative half, tells the truth of his root fears: 

x

Dean does deserve to be saved. He deserves happiness in all of its variant forms -- the eclectic rainbow of beach vacations, retirement, Rocky’s Bar, finding romantic love -- and he must try to believe it himself. His closet!box is the catalytic literal/metaphorical object for this chief realization. 

And to emphasize how important the burial is regarding Dean’s psychological progression, ta-da, my 13x20 Dean meta still applies today, primary themes carried over into S14 by Dabb & Co:

And what are Dean’s WINS (plural) by dying? Saving people instead of losing people–saving Mary, Jack, Sam, and Cas. Saving the world. Reuniting his family unit. Interacting instead of performing. OUTING INSTEAD OF HIDING. HIGH DEPRESSIONLESS SELF-WORTH INSTEAD OF LOW DEPRESSIVE SELF-WORTH.

Better yet, Dean will undergo character development in relation to his loved ones (and Cas). With high self-worth, Dean’s capable of learning how to value HIMSELF independently. In turn, without personal obstacles he’ll learn how to sustain HEALTHY interdependent relationships and COMMUNICATION as well as learn how to WHOLLY GIVE HIMSELF to others (Cas).

Tell Cas he’s not expendable, Dean. Disclose the real reason YOU “needed him back”. Expose your feelings, choose Want over Need, and push away your rejection fears! Cas loves you dearly—let him know that his love for you is reciprocated. Nothing but good things ahead!!

And that’s the mystery of life: to live is to die. To die is to live. By “dying”, Dean saves his loved ones. He saves the world. He saves Cas, his romance-coded (sub)textual lover, Jack his son, and Sam his brother -- his family.

He saves himself. 

His mind, his rules.

And Dean doesn’t know FOR SURE if this burial choice will lead to a win -- neither do we know if he’ll go through with it until 14x11 airs -- but that’s AGENCY, my friends. It’s the meat of particular Time Travel Is Bad tropes: if we know our ending, life loses meaning. The choices we make to get there loses value. Humanity loses unpredictability. Ergo the journey through life - the POINT of living - is about executing choices and taking chances.

"If nothing we do matters, then all that matters is what we do." - Camus, Absurdism 

The biggest reminder governing my SPN viewing as it had last season:

[hyperbanal]

We should rather speak to Steven Weinberg’s claim that while without religion good people would have been doing good things and bad people bad things, only religion can make good people do bad things. More than a century ago in his Brothers Karamazov, Dostoevsky warned against the dangers of godless moral nihilism – if god doesn’t exist, then everything is permitted. The French philosophy André Glucksmann applied Dostoyevsky’s critique of godless nihilism to September 11 and the title of his book, ‘Dostoyevsky in Manhattan’ suggests that he couldn’t have been more wrong. The lesson of today’s terrorism is that if there is a god then everything – even blowing up hundreds of innocent bystanders – is permitted to those who claim to act directly on behalf of god. The same goes also from godless, Stalinist Communists – they are the ultimate proof of it. Everything was permitted to them as they perceived themselves as direct instrument of their divinity – of historical necessity, as progress towards communism. That’s the big of ideologies – how to make good, decent people do horrible things.

Zizek, Happiness: Capitalism vs Communism

[ktbensondc]

Subculture and the meaning of style

The term ‘subculture’ dates back to the 18th and 19th centuries and was often used to describe deviants of society - thieves and vagabonds. The word ‘sub’ refers to something of a lower rank.

Post World War 2, ‘subculture’ refers to youthful groups i.e. Mods, Rockers, Teddyboys, Skinheads, Punks etc... Subcultures are typically formed to resist the mainstream culture but they remain (at least at the start of formation) a minority group. They share beliefs and values, as well as lifestyles that oppose the norm of the mainstream society.

Mainstream is about hierarchy. It is the dominant culture shaped by popular/prominent political, media, social and corporate interests. It is found across all parts of society - wherever there is a structured entity, the structure follows. Subcultures questions these structures.

“A subculture ... signals a breakdown of consensus” - Dick Hebdige 

Subculture is the refusal to participate in the mainstream. Most look to subvert, parody, or disrupt the mainstream, for example, the popular family cartoon The Simpsons ran through the 90′s as a black stain on society. The Simpsons shows a dysfunctional family, an idea not common on television back at the time when shows such as The Brady Bunch or Full House aired. However, the influence of The Simpsons boosted it into the mainstream, and eventually, that is what it became. Once The Simpsons hit the mainstream, it came down to other such TV cartoons - South Park, for example - to mock the mainstream as The Simpsons became consumed by it.

Empowerment & Impotence.

Case Study 1: The Beats Subculture Elite - mostly male, young, educated, middle class, sexually ambivalent, white. Key people in the movement included Jack Kerouac and Allen Ginsberg. They were Post World War 2, lived during the 1950′s in America (Eisenhower’s America), and alienated themselves from mainstream society. The subculture was named after the idea of being ‘broken down’ by society.

Beat themes:

Anti-mainstream (Straight culture)

Anti-1950′s materialism

Anti-censorship

Opposition to the military-industrial machine

Emphasis on the individual - freedom, the journey counts not the destination

Underlying spirituality/ecological consciousness - Eastern religions such as Buddhism

Don’t alter or edit what comes from their heads as they write on the page

Square Values VS Beat Values: Square values:

Avoid Beat values

Deferred gratification - buy into capitalism and materialism

Conform to bureaucracy

Comfort in routine

Strong work ethic

Family is the moral centre - the nuclear family

Defined gender roles

Deference to religious beliefs

Beat values:

Hedonism - leads to personal enlightenment and shakes the cage of mainstream culture

Spontaneous action against the mainstream clock

Distain for work ethic

Anti-materialism

Looked to eastern cultures

Non-binary relationships

Non-comformity

Beat culture was seen as very dangerous to conservative values. The mainstream absorbs subcultures. Subcultures become mainstream. Beats were vilified in America - ‘beatnik’ was a derogatory term used against them but Beatnik itself also became a subculture - a caricature of Beat subculture and were typically categorised as:

Sloppily groomed

Turtle neck and sweater

Nonsensical slang

Furthermore, Beatchick became its own subculture:

Oversized sweater

Weird and spacy

Deviant/morally suspect

Sexually available

Beatniks became synonymous with the criminal underworld. Films were made with a story involving criminal Beatniks. Subcultures are cyclical. Through the decades, Hollywood became sympathetic towards the Beats and kinder depictions of the forefront individuals of the subculture began to be released on film. Moreover, the rise of the Hipster subculture has been described as ‘Beat caricature’.

Case Study 2: Punk (1970′s Britain) Hebdige described Punk with the thought that no subculture has tried with such ‘grim determination’ to detach itself from the norm. Punk articulated frustration of the young working class - the alienation of this group from mainstream society. Youth unemployment was high during this time and there were constant strikes. With no money, no job, and a boring day to day life as a result, Punk subculture began to rise. The mainstream told the public what to do with their time, but youths had no way to conform to these ideas with no money and no way of getting money.

The Visualisation of a Subculture Cultural Capital - the creation of stuff - zines, for example. People who make and do things.

The influence of the subculture elite - alternative ‘codes’

DIY culture

Detourenment

Demystification

Vivian Westwood and The Clash were part of the elite of Punk subculture. A manifesto on a t-shirt of what you should be into and what you shouldn’t.

Straight Culture (in the opinion of Punk):

Television

Clockwork souls

Dumb Popstars

Good fun entertainment that isn’t good or funny

Dress Code:

Very original

Took elements from cultures that came before - collage to create something new known as Bricolage.

Safety pins kept their clothes together and were a practical solution to real, working class problems. They became an aesthetic.

Anti-taste

Cross gender dress

Provocative imagery on t-shirts

Original and non-uniform

Pushed the boundaries for what censorship should be

Subculture Rituals:

Nihilism

Speed logic

Participation in the spectacle - blurring of audience/performer dynamic

The ‘Pogo’ - up and down dancing because it was impossible to move

Sarcasm

Demystification

Iconoclastic - destroy your idols

Anti-corporate - anti-elitism

Amateurism as a virtue - Debunked the idea of needing specialised knowledge in music, graphics, and image to create music, graphics, and image

Desire for authenticity -> The Slits were an all-female punk band who didn’t know how to tune their instruments

Production of zines

DIY culture:

Cassettes and tapes, music, fashion etc

Creative control, not going to a middle person

The primacy of the punk 45 single

Development of visual lexicon

Punk cultured differed locally and was encouraged by fury and spontaneity.

Semiotic code:

Anti-aesthetic

Urgency and energy

Cheaply printed

Deliberately crude (but well composed)

Photo-montaged - the photograph is clearer than the illustration

No rock star posturing - no one posing on the cover with their guitar

Random note style lettering. Stencilled

Themes:

Class and suburban (irony)

Anti-consumerism

Urban decay

Criminality

Subversion of the mainstream

Punk reached America.

Detournement - interference subversion:

The aping of parent culture

Appropriation and altering already lasting media artefacts

Situationalist International - Situationalism in 1960′s Paris was short lived but held the idea that if you can interfere with capitalism, you can influence things. Drawing on bill boards and graffiti, for example. King Mob in the late 1960′s London were a situationalist group, and pranksters. Jamie Reid - The Sex Pistols and his lexicon of ‘Do it yourself’. Punk graphics came from his worldview.

Punk gear became mainstream. They had to change it to retain it. Punk is reframed over the decades on television, in books, and graphic novels. It is now possible to cherry pick the best parts of the subculture for mainstream consumption. It is no longer dangerous or edgy - it can now be contained, monetised, and commercialised.

The art becomes curated.

[everydayanth]

Time is Money or... Identity?

This became something of a thought-experiment paper... I don’t expect many reads here, but I’m working on getting more comfortable sharing thoughts, particularly on the internet, rather than keeping them in my head and getting annoyed when no one wants to talk about them, lol, so here goes....

It started with this image popping up three times while scrolling through the dash:

And then I had some thoughts....Sorry it’s so long. I suppose this post in itself is an experiment.

Things like this, collections of ideas concentrated into a few spectacular people (Renaissance artists, Baroque composers, WWII scientists, etc.), make me wonder about philosophy vs. aesthetic, and if what really sets progress in motion is competition and a group of people who feed off each other’s asking of questions and discovery of answers.

Can we fresco and entire ceiling? Sure, but it will be painful and probably kill you. Can we art better by understanding anatomy? Sure, but you’ll have to snatch some bodies, or let someone else do it first. Can I make music do this instead of that other thing? Sure, but then you’ll be copying that one guy, try this even cooler new idea! Instead of repackaging the same idea into new models or melodies, they pushed the boundaries of known into connections that traversed the unknown, adding bubbles to the collective mind-map of human knowledge and intelligence. That’s what makes them special, right?

I’m currently reading The Invention of Nature by Andrea Wulf, and I’m doing it slowly on purpose, reading all the materials referenced (Kant, Hume, Goethe, etc.) as a personal exercise in understanding a period of time/culture rather than simply Alexander Von Humboldt the person (also, it’s a good book, but the author is very biased-in-favor, so I’m trying to read it in tandem of others who were more critical). Anyway, I’m going through the part where a group of young men require each other’s thoughts as stimulation and inspiration to new ideas, how they challenge and change what is and feed off these new connections, even as they are being recorded by scientists and artists who would become ultimately more preserved in historical documents and textbooks.

And that seems to be the key, one brain questions and answers, another questions that answer and answers itself, and so on, agreeing on very little outside of context, but pushing each other into new territory. It only takes one four-minute mile to prove it can be done at all. But if we’re caught up in the ethics of how to question and answer, then aesthetics quickly become more desirable. So the cultural understanding, particularly with Millennials, seems to grow weary of argument and become: if I can’t discuss policy (because the nuances are extreme or not understandable/accessible to me, or most often because my voice is denied and change is unattainable), I can at least look good while it slowly chokes me to death.

And while it’s easy to write it off as narcissism and entitlement, perhaps it’s only because what we deem “looking good” is one of very few things we can generally agree upon, everything else is hopeless, creating a cycle of nihilism where hopeful people are considered naive or dumb. Sure, there are different styles of aesthetic, and we label those subgroups with passionate adamance, but I think even the most minimalist among us can appreciate an aesthetic collection of clutter when done well. We share an ideology of quality that makes art and media that was once appreciated by few an aesthetic that is valued by most - Marvel comics vs. the MCU, SF/F shows like Lost or Game of Thrones becoming cultural phenomenons vs. the elusive Geekdom prior to the Star Wars movies. Aesthetic unites us where every other aspect of nationalism and group identity divide us by philosophy - our perceptions and understanding of geography, history, culture, language, or enemy (traits of nationalism, yeah, I’m citing my own article lol) are all based on complex webs of experience, education, world view, etc.

We focus on aesthetics in literature, visual arts, and technology, business branding, business models, and even the application of science to the public. Aesthetics becomes the focus of energy because it is where we find freedom of identity in a world ready to challenge any semblance of diverse thought. We agree on aesthetics, because they fit a model and communicate efficiently if we are something to consider good or bad.

But that false dichotomy is severely flawed because projections of reality and reality itself are two vastly different things. Dichotomous thinking is a way to simplify the world when it becomes too complex too fast, it is a tool used to make choices, like making a pros-cons list or an if-then projection in order to decide to do or not to do, to be or not to be. It is often supported as a tool of control, and becomes extremely dangerous when it begins to dictate our identities and understandings of the world. When there is no us-vs-them, what idea can we rally around?

To start, we have a lot of inclusion to do, because discussions of philosophy, art, and science all start with time, and you know who doesn’t have time? People who need to make money in it. So when we skew our education systems to favor those who have time (and therefore money), we allow economics to dictate progress in philosophy and art and science, we hand over control to those who profit most from dichotomous thinking. And when we do that... well... money will favor some things over others, like product over research, revenue over investment, aesthetic over thought, etc. until deviating outside of that cycle is nearly impossible if not unsurvivable.

We’re in a loop, where making money is the goal, because there is no other option, research needs support, and research’s only support comes from money, and money wants more money, so research is limited to whatever gives us money.

Has that always been the case?

Renaissance artists were successful if they demonstrated the church’s power, gaining the church support through aesthetics, not challenging its philosophy (well... not directly anyway). That church profited (and still does) greatly from the development of dichotomies and used art and emotion to encourage this thinking, often as a way to control the lower classes.

Baroque composers (or Romantic, Classical, and Modern ones for that matter) were successful if they sold shows and inspired attendees to purchase their music, again, often sponsored by those in financial power and following the requested agenda (and again, not always directly, often including illicit subtext). Stepping too far away from what was popular and appropriate meant they lost sponsorship and public interest. Thus, the freedom of the starving artist vs. the conformation of the sell-out dichotomy.

And WWII/post-WWII scientists were successful if their work was supported by government institutions, particularly military or intelligence branches, and advanced the prospect of victory over a consistent manifestation of physical enemy (Nazis, Russians, soldiers, and spies). 

The money comes when the proof is clear, not when it’s being searched for, and then only after decades of scientists and artists have died in poverty after discoveries of curiosity, not agenda. Progress, then, is controlled by public interest... or else private investment, and must, therefore, conform to the expectations of one or the other, often balancing the greater of two evils, it seems.

This is not a disrespect of those genius giants before us. I’m just noticing a pattern in the system of prosperous aesthetic periods and less progressive philosophical ones. We see the results of the philosophers only when they are applied aesthetically, and those aesthetic focal points divide the world into answers instead of questions, so it can seem that large progress has been made, when perhaps it was in-process for quite some time and was completed when a group of people crowded around the concept with the financial support of a capital agenda and the peers to push the boundaries of answering the questions that had been asked before them.

Most of the giants whose shoulders we stand on are invisible, it seems we only recognize the ones who present the answers aesthetically to our culture of origin. The “discoverers” of America are preserved in record because of their historic access in writing, but also because of their royal and religious backing. 

Many scientific theories were proposed prior to our Western heroes by individuals those heroes had access to reading, particularly those outside of our Western vernacular. Darwin had access to tons of theories, but I’m not just talking Lyell and Linnaeus here, but the likes of  Zhuang Zhou, al-Jāḥiẓ, and Ibn Khaldūn, whose names are ignored even in evolutionary biology/anthropology classes. 

We remember Apple’s ipod, not the saturated market of mp3 players before it; we discuss the unveiling of the iphone, not the industry and inventions that already existed. And while the fun of literature is often disassembling its parts, we don’t discuss the mythology or market predecessors to Harry Potter, because it was the new aesthetic of young adult. That’s a bold claim, and much more subjective than the tech/science ones, but I think it’s important that we recognize this across industries and throughout our culture, not simply within the aesthetic streamlining of technology. Our immediate “successful” heroes make money because they provide and aesthetic that applies to many philosophies.

We don’t diversify our education because we admire the end result of science, rarely considering the entirety of work that went into final discovery or product. We try to explain science in chains of linear progression rather than the mind-map of questions and ideas and artistic or political influence that it is.

Progress then, depends a great deal on affluence and we exist in a culture of “who you know” rather than a balance of who AND what you know. Sure, there are always exception, but is it any surprise that we younger generations are obsessed with image? 

Success, it seems, is directly correlated with it, and while we know genius takes more than money, success seems to exist outside of it - in fact, success rarely seems to involve genius itself at all anymore, but pure aesthetic. I’m thinking of the likes of Steve Jobs, who cultivated a following through his personal branding and rhetoric that helped change an entire industry, but often did so through aesthetics, not invention. 

We have grown to idolize the firsts as people who invented something, however, the reality is that those tech giants and big names rarely invented, rather re-modeled and presented something aesthetically compatible to society. We do not celebrate the inventor of the piano, but rather those composers who presented us with an aesthetic style for it. 

But that makes sense, because science’s value is in application. Who cares about dark matter? Well, no one (except sci-fi authors lol), yet, because it has no application to the public. But projects are still funded by institutions and government because our curiosity drives research and the potential outcome (weapons, control, power, money) justifies investment. How much money our government spends on NASA is directly correlated to the expectation of results, in the 60s, that was a way to defeat our perceived enemies, now, for some, it’s useless and should be privately funded.

I’m getting a little off topic, but my point is that what we deem “progress” is often only the part of the iceberg that we see, and rarely the whole of it. So what we see in the initial photo as a culture is a group of genius scientists (yes, again, respectfully, I am not denouncing the discoveries or large amount of work put in by any individuals here), rather than the prosperity of the Industrial Revolution, whose amount of excess-everything funded work that wasn’t considered necessary, until it was. When we fear a limit of resources, we understandably become more controlling over what we spend money on as a society, but even in limited resources, there are those with excess, who can then more easily control what is considered valuable or not. 

So, to be a successful genius, one must have access to funding, and to do this, one’s work must fulfill an agenda of another who has or is access to funds. This often entails being well connected, which includes a performance of image, false confidence, and the crucial understanding of the mind map of philosophy, art, and science in the intended discipline, which is often only accessible to those who fit the desired cultural template of the controlled upper class (read: wealthy, white, male, and upperclass-educated, for historical America anyway). 

Which means that in idolizing the presenters of knowledge, we value the aesthetic of it, the pretty package wrapped around a completed idea, more than we value the process of it. And this is dangerous because we repeat it everywhere, in politics and government (we might value the cheaters who take a shortcut as a symbol of intelligent application, or those who represent an aesthetic we agree with without looking into their application of policy), justice (social justice often values the aesthetic meaning of an outcome of a problem, rather than deconstructing the process by which that outcome was reached), education (we use standardized testing to represent a student’s ability to memorize outcomes - or the aesthetic of looking intelligent, rather than demonstrating an ability to apply knowledge and understanding), business (we herald in those who present us with a desired aesthetic brand - Apple, Starbucks, Google, etc., rather than investigating the potential corruption of human conditions that leads to that aesthetic; or else using a popularity rating of stars as peer-approval of a brand rather than developing our opinions out of experience).

Even in our personal lives, it is more important to be perceived as positive and confident than to investigate and deconstruct what might be making us unhappy. For me, it was health, I didn’t like how I looked or felt, but was obsessively told that I’m great, I shouldn’t feel that way. My negativity was rewarded, victimization was encouraged, and the conclusion seemed to always be leaving everything as-is.

Eventually I had to say fuck it and stop seeking the support and understanding of friends, utilizing spite to rebuild a healthy life, which isn’t the only option, that was my choice, but our obsession with aesthetics became a lose-lose for me. I didn’t want to look like a photo-brushed-whatever model, which seemed to be everyone’s assumption, I just felt unhappy because I was unhealthy and unproductive in my life. 

But that’s a bad aesthetic, or maybe not one at all and that denial of aesthetic might be the worst part. I didn’t fit into a box, not out of any higher intelligence, but because I could never pick one. This story is much more complex (and for the record, Jake was instrumental in helping me develop and maintain a health plan) and could probably be unpacked into an entire book of an extended metaphor, but put simply, I want to be a minimalist some days and a traditionalist other days and my brain is just a clash of ideas. Even my wardrobe reflects this, lit-nerd some days, world-traveler other days, outgoing-athlete, and even the occasional clash of weird accessories that is dancer-chic, lol. 

I was feeling stuck by a body that was in endless rehabilitation and recovery (long story, broken bones), and I didn’t like it, so I wanted to change it. But that proactive idea was met with passionate defenses of body-positivity (which does have a place in society as a whole) and a focus on aesthetic (”you look fine”) rather than philosophy (well I don’t fucking feel fine). And I can’t help but think it’s because aesthetics are things we can agree on, or because they are safe, and to change aesthetics or to request a focus on philosophy, makes people scared about the burden of change.

So I have a revision to my own idea of what curates success:

Successful genius exists in a place supported financially, often by an agenda that is commonly more afforded to those who already fit a familiar cultural aesthetic of money or power, armed with an understanding of connection and access to un-biased and diverse knowledge and education (again, often most commonly afforded to those already in the upperclass), surrounded by a group of similar individuals who provide competition as well as resources and connections that progress the understanding of concepts in non-linear objectivity, and present finalized ideas to the public in a consumable and digestible aesthetic package of understanding that does not require extensive negative change on behalf of the consumer.

If that is true, I think it answers the cycles of science in ages of philosophy and reason vs. aesthetics and image that creates the popular science vs. art false dichotomy. STEM is more easily objective, and objective is more easily packaged and sold, therefore we create an art vs. science dichotomy and science wins - but only if it’s presenter understands enough about art to package it aesthetically. Social sciences are doomed by their own use of inductive arguments, complex layers of pattern and observation that don’t have a single objective Truth, rather a layered perception of potential truth, which is not easily distributed - it’s not a pamphlet, it’s a book. 

Ain’t nobody got time for books.

It explains the Millennial obsession with image outside of an individual psychology of narcissism, by looking to cultural understandings of success and value. And while deviating from traditional models of progress - looking at thought as a mind map of connection rather than linear funnel of detail (while still applicable and useful), it illustrates the time lapse between discovery and progress. There is a gap between the actual discovery of knowledge and the generalized application of that knowledge, and that gap is filled by whomever presents the information most effectively or efficiently, sometimes accurately, to the public. That presenter is then considered successful, valuable, important. That importance leads to respect, time, and freedom.

So Millennials are emulating what they need to look like to be considered successful (fake it ‘till you make it and all), while science emulates linear thought in the same way. Linear thought can be more easily objective and packaged for public access, taught in schools and accepted by society. We create a dichotomy of linear and non-linear thought and say they have pros and cons or specific uses and applications, but I think in the same way our predecessors argued about Empiricism vs. Rationalism (read: art vs. science) until we understood them in tandem, we are at the point of having to understand linear and non-linear thinking not as opposites, but as extremes on a spectrum, most useful when balanced. 

It’s complex and complex things take time to understand. And time is money. And money is freedom. And freedom is happiness.

Perhaps this explains why dichotomies are so popular - they fit an aesthetic, and they remove the exhausting layers of philosophy that exist inside our own identities. Dichotomies limit the complexity of an idea into two extremes, and  when we define ourselves by an image rather than our modes of thought, much of our decisions can be made by whatever aligns with the image. We can feel free by the illusions of power or choice, while minimizing the effort it takes to get to that freedom, and maybe it makes us feel happy for a minute. 

However, while we spend much of our decision quota in a given day on deciding which aesthetics to consume or conform to, those choices are still influenced by those whose agendas are funding our understanding of the world through science and art. Is it any wonder we’ve created a dichotomy of disconnect in every way. What I mean is that it is easy to make irrational choices based on feelings of aesthetics (easier, not always easy), and when our culture divides aesthetics into categories, they are predictable, marketable, and controllable, so we must separate the world into understandable groups.

If this is true, then maybe it’s not the internet or social media or Millennial entitlement that is separating us. Maybe it’s the control of wealth being recycled into similar agendas to produce work that conforms to or provides evidence supporting already existing biases in science. Keep us too busy making money to have time to understand it and too loyal to brands to investigate the money, and too exhausted of choices to discover ourselves. So the freedom of choice that we find in aesthetic dichotomies - the ease of making decisions and lowered exhaustion of not analyzing those experiences, is actually a sacrifice of identity and agency to those funding our research and creating the requirements of aesthetic conformation . 

This is getting a bit conspiracy-theory-esque, but dichotomies are good for reducing choices and controlling groups, however, they do not inherently exist outside of a few basic dualities (like light and the absence of light, or dark), they extend out of a focus on aesthetic and a disapproval of thought, voice, and criticism. Or, to simplify, they are social constructs to organize information.

So if this all related in some way, if science and progress is inhibited by the agendas of the elite, and we are very aware of our elite, how do we trust it? How do we step out of the aesthetic-obsessed cycle and into forgiveness and understanding and patience and... time?

And perhaps more importantly, how do we develop a way to support science AND diversify it? How do we make the next photo like this include races and genders across a spectrum of ideologies? How do we create a collective group of genius that exists outside of a capital agenda, is it even possible? How can we encourage investment over revenue when so many Americans (and people around the world) feel they don’t have enough time to make money to survive, or choices to spend thinking about philosophy, policy, and what they believe in vs. agreeing with something that seems to vaguely align with their desired aesthetic identity? It’s not laziness, I don’t think, but over-work, we’ve reached our daily capacity and the sacrifice of demanding more is...less.

I struggle to pick an aesthetic and it has helped me break that easy black-and-white view of the world, but that is a fight I am exhausted by every day. It would be so simple to pick an aesthetic and run with it, to define myself by a collective idea and make choices based on what matches it, but that swings with my emotions, and maybe that’s closer to the problem? 

We have done some weird shit with emotion, from disregarding it as feminine or “weak,” to writing it out of strength and art and science. We have created a dichotomy between emotion and logic and then mapped it into our brains as hemispheres of thought. We made a taboo-aesthetic of sadness (I mean, look at Inside Out’s character development of Sadness, but they did a good job using balance as the answer) and disregarded most emotions beyond contentment or positive excitement as bad, which is, surprise, starting to look like a mistake. We’ve branded empathy as weakness; we are simultaneously admiring, and for many worshiping, empathetic individuals while funneling our money into heartless heroes who we deem successful. Maybe it’s our emotions that have faded, beaten out of us or encouraged into silence, leaving us lonely and dependent on our chosen aesthetic to find any pieces of identity that might lead to authentic happiness. Maybe emotion is what keeps us in just-enough chaos to challenge the agendas that control our choices by keeping us unpredictable? Or perhaps they are what unite us beyond aesthetic.

Maybe staring at that shelf of shampoos and conditioners, over half of which are produced by the exact same factory and owned by the same company but branded with different versions of you in mind and with how you will feel looking at them taken into account, is extremely overwhelming. And some days you feel lazy and tired and you just grab that same ol’ thing. But occasionally you feel rebellious or responsible, and you investigate and make a completely different choice because maybe you are made of a layer of realities held together by your collective experience of life that creates a unique worldview, that thing that we conform to an aesthetic or maybe an emotion, or philosophy, or a conviction of values, and maybe that thing cannot be predicted. Maybe our models predict an aesthetic, not a person, and maybe that’s a duh, but it’s not a logical concept I consider on a daily basis of rhetoric hailing technology and AI as all-knowing and capable of perfect reason.

Maybe it’s our chaos that is trying to be organized into compartmental identities of aesthetic ideologies: minimal, vintage, grunge, professional, bad-ass, athletic, urban, feminine, boho, whatever it is. And those who challenge it are in for a much more difficult life of choices, each of which must be broken down into action-and-consequence, current emotion vs. future potential, the history and creation of a product, etc. We don’t have time to ask our coffee if children were kidnapped to harvest it, we have an image and this specific coffee or product fits it; we are too busy trying to be successful so that we can eventually have the freedom to fully identify ourselves and be happy, and we see by cultural example that our desired success comes from aesthetic.

Capitalism creates a need for money, and that excess capital is often syphoned into the remnants of pre-constructed systems. I don’t have the expertise to divide that into its logical components yet, but maybe our adoration of monarchy as seen in our popular media, art, and entertainment, has us assuming the elite among us deserve their position, romanticizing the trials of poverty as obstacles to be overcome, and forcing racial stereotypes into equally damaging aesthetics - the white female, incapable damsel in distress, vs. the black female, independent queen who can survive everything on her own. This is not a real dichotomy, it’s a shitty stereotype, but you probably wouldn’t know it from the outside looking in, or perhaps from the inside itself, if you felt the need to align with a specific aesthetic, or even to invert that pressure into the opposite aesthetic. Businesses thrive by utilizing those dichotomies, and sometimes by creating a solution to them. So if they are useful to some, perhaps that’s enough reason to be suspicious of the agendas that tell us how to think or make our lives easier. 

I feel like I’m saying a lot of stupid things while feeling my own brain nodding along and going like oh, here’s a dichotomy and there’s another dichotomy and all dichotomies are false dichotomies, and I know all this in formal educated argument, but when it comes to daily application, I want to just be a cool millennial who has health insurance and can grab takeout without humming about the cost and what I might be able to pull together from the fridge. That doesn’t mean brands or aesthetics, despite the market’s attempts to the contrary, just the means to survive financially with a bit of excess time for myself to think and be bored and contemplate the world with other people so we’re all a bit less lonely and more emotionally adjusted.  

Diversity, money, research, science, art, aesthetic, it all seems to come back to identity and time. Time to make choices, time to reflect and think about identity and emotion, time to deconstruct and criticize reality, time to investigate corruption, time to gather knowledge and resources, time to exist along other humans rather than floating away, isolated and ungrounded from the world. Therefore, successful geniuses also have time to exist outside of a singular aesthetic and enhance our understanding of the world in order to develop positive changes that we often label “progress.”

How do we give people more time so that they don’t have to divide the world into aesthetics and dichotomies in order to keep up or attempt to be successful? Does giving someone time allow them to feel successful? If that perseverance of success was in order to gain the time, would we then use the time to curate individual identities that we feel comfortable and confident in? Is time what it takes to be happy? Is time what separates the classes in America?

How do we un-do “time is money,” particularly in a capitalist economy and remember that time is also thought and connection and values and friendships and more than obligations?

How do we remember that time is identity?

Is time a renewable resource? Or are we. 

[heinzduthel]

anarchism what it really stands for emma goldman – Heinz Duthel – Homepage

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[cpaton-604-54-s2]

Notes from lecture

21.09.22

Introduction - What are you researching?

Abstract

Explain the topic - Beach cusps and how they form

How do I document them? - Working out a design method and experimentation - Setting up a way to find information - setting up gopros on the beach to collect information - experimenting to find different views on the topic and a better approach - finding unexpected events due to researching - colour grading to find wave patterns in water - researching and experimentation can also include inspiration from others and influences

Field Work VS Studio - field research then coming back to work on things - analogue then to digital

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Key words: Vaporwave Article

Phenomenon, Sonic, Dreamscapes, Nostalgia, Uncanny valley, Beloved, Meaningful, Visual identity, Nihilism, Weird 'The marriage of art and capitalism.' 'The style of vaporwave is (unsurprisingly) very 'internet'-' "Shifting classic art into 'uncanny valley' territory.'

"Vaporwave's sound and visuals are about terriblness, and satirize that terribleness to the point of making it good again."