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mostlysignssomeportents · 6 months

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Podcasting “Capitalists Hate Capitalism”

I'm touring my new, nationally bestselling novel The Bezzle! Catch me in Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

This week on my podcast, I read "Capitalists Hate Capitalism," my latest column for Locus Magazine:

https://locusmag.com/2024/03/cory-doctorow-capitalists-hate-capitalism/

What do I mean by "capitalists hate capitalism?" It all comes down to the difference between "profits" and "rents." A capitalist takes capital (money, or the things you can buy with it) and combines it with employees' labor, and generates profits (the capitalist's share) and wages (the workers' share).

Rents, meanwhile, come from owning an asset that capitalists need to generate profits. For example, a landlord who rents a storefront to a coffee shop extracts rent from the capitalist who owns the coffee shop. Meanwhile, the capitalist who owns the cafe extracts profits from the baristas' labor.

Capitalists' founding philosophers like Adam Smith hated rents. Worse: rents were the most important source of income at the time of capitalism's founding. Feudal lords owned great swathes of land, and there were armies of serfs who were bound to that land – it was illegal for them to leave it. The serfs owed rent to lords, and so they worked the land in order grow crops and raise livestock that they handed over the to lord as rent for the land they weren't allowed to leave.

Capitalists, meanwhile, wanted to turn that land into grazing territory for sheep as a source of wool for the "dark, Satanic mills" of the industrial revolution. They wanted the serfs to be kicked off their land so that they would become "free labor" that could be hired to work in those factories.

For the founders of capitalism, a "free market" wasn't free from regulation, it was free from rents, and "free labor" came from workers who were free to leave the estates where they were born – but also free to starve unless they took a job with the capitalists.

For capitalism's philosophers, free markets and free labor weren't just a source of profits, they were also a source of virtue. Capitalists – unlike lords – had to worry about competition from one another. They had to make better goods at lower prices, lest their customers take their business elsewhere; and they had to offer higher pay and better conditions, lest their "free labor" take a job elsewhere.

This means that capitalists are haunted by the fear of losing everything, and that fear acts as a goad, driving them to find ways to make everything better for everyone: better, cheaper products that benefit shoppers; and better-paid, safer jobs that benefit workers. For Smith, capitalism is alchemy, a philosopher's stone that transforms the base metal of greed into the gold of public spiritedness.

By contrast, rentiers are insulated from competition. Their workers are bound to the land, and must toil to pay the rent no matter whether they are treated well or abused. The rent rolls in reliably, without the lord having to invest in new, better ways to bring in the harvest. It's a good life (for the lord).

Think of that coffee-shop again: if a better cafe opens across the street, the owner can lose it all, as their customers and workers switch allegiance. But for the landlord, the failure of his capitalist tenant is a feature, not a bug. Once the cafe goes bust, the landlord gets a newly vacant storefront on the same block as the hot new coffee shop that can be rented out at even higher rates to another capitalist who tries his luck.

The industrial revolution wasn't just the triumph of automation over craft processes, nor the triumph of factory owners over weavers. It was also the triumph of profits over rents. The transformation of hereditary estates worked by serfs into part of the supply chain for textile mills was attended by – and contributed to – the political ascendancy of capitalists over rentiers.

Now, obviously, capitalism didn't end rents – just as feudalism didn't require the total absence of profits. Under feudalism, capitalists still extracted profits from capital and labor; and under capitalism, rentiers still extracted rents from assets that capitalists and workers paid them to use.

The difference comes in the way that conflicts between profits and rents were resolved. Feudalism is a system where rents triumph over profits, and capitalism is a system where profits triumph over rents.

It's conflict that tells you what really matters. You love your family, but they drive you crazy. If you side with your family over your friends – even when your friends might be right and your family's probably wrong – then you value your family more than your friends. That doesn't mean you don't value your friends – it means that you value them less than your family.

Conflict is a reliable way to know whether or not you're a leftist. As Steven Brust says, the way to distinguish a leftist is to ask "What's more important, human rights, or property rights?" If you answer "Property rights are human right," you're not a leftist. Leftists don't necessarily oppose all property rights – they just think they're less important than human rights.

Think of conflicts between property rights and human rights: the grocer who deliberately renders leftover food inedible before putting it in the dumpster to ensure that hungry people can't eat it, or the landlord who keeps an apartment empty while a homeless person freezes to death on its doorstep. You don't have to say "No one can own food or a home" to say, "in these cases, property rights are interfering with human rights, so they should be overridden." For leftists property rights can be a means to human rights (like revolutionary land reformers who give peasants title to the lands they work), but where property rights interfere with human rights, they are set aside.

In his 2023 book Technofeudalism, Yanis Varoufakis claims that capitalism has given way to a new feudalism – that capitalism was a transitional phase between feudalism…and feudalism:

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Varoufakis's point isn't that capitalists have gone extinct. Rather, it's that today, conflicts between capital and assets – between rents and profits – reliably end with a victory of rent over profit.

Think of Amazon: the "everything store" appears to be a vast bazaar, a flea-market whose stalls are all operated by independent capitalists who decide what to sell, how to price it, and then compete to tempt shoppers. In reality, though, the whole system is owned by a single feudalist, who extracts 51% from every dollar those merchants take in, and decides who can sell, and what they can sell, and at what price, and whether anyone can even see it:

https://pluralistic.net/2024/03/01/managerial-discretion/#junk-fees

Or consider the patent trolls of the Eastern District of Texas. These "companies" are invisible and produce nothing. They consist solely of a serviced mailbox in a dusty, uninhabited office-building, and an overbroad patent (say, a patent on "tapping on a screen with your finger") issued by the US Patent and Trademark Office. These companies extract hundreds of millions of dollars from Apple, Google, Samsung for violating these patents. In other words, the government steps in and takes vast profits generated through productive activity by companies that make phones, and turns that money over as rent paid to unproductive companies whose sole "product" is lawsuits. It's the triumph of rent over profit.

Capitalists hate capitalism. All capitalists would rather extract rents than profits, because rents are insulated from competition. The merchants who sell on Jeff Bezos's Amazon (or open a cafe in a landlord's storefront, or license a foolish smartphone patent) bear all the risk. The landlords – of Amazon, the storefront, or the patent – get paid whether or not that risk pays off.

This is why Google, Apple and Samsung also have vast digital estates that they rent out to capitalists – everything from app stores to patent portfolios. They would much rather be in the business of renting things out to capitalists than competing with capitalists.

Hence that famous Adam Smith quote: "People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public, or in some contrivance to raise prices." This is literally what Google and Meta do:

https://en.wikipedia.org/wiki/Jedi_Blue

And it's what Apple and Google do:

https://www.theverge.com/2023/10/27/23934961/google-antitrust-trial-defaults-search-deal-26-3-billion

Why compete with one another when you can collude, like feudal lords with adjacent estates who trust one another to return any serf they catch trying to sneak away in the dead of night?

Because of course, it's not just "free markets" that have been captured by rents ("Competition is for losers" -P. Thiel) – it's also "free labor." For years, the largest tech and entertainment companies in America illegally colluded on a "no poach" agreement not to hire one-anothers' employees:

https://techcrunch.com/2015/09/03/apple-google-other-silicon-valley-tech-giants-ordered-to-pay-415m-in-no-poaching-suit/

These companies were bitter competitors – as were these sectors. Even as Big Content was lobbying for farcical copyright law expansions and vowing to capture Big Tech, all these companies on both sides were able to set aside their differences and collude to bind their free workers to their estates and end the "wasteful competition" to secure their labor.

Of course, this is even more pronounced at the bottom of the labor market, where noncompete "agreements" are the norm. The median American worker bound by a noncompete is a fast-food worker whose employer can wield the power of the state to prevent that worker from leaving behind the Wendy's cash-register to make $0.25/hour more at the McDonald's fry trap across the street:

https://pluralistic.net/2022/02/02/its-the-economy-stupid/#neofeudal

Employers defend this as necessary to secure their investment in training their workers and to ensure the integrity of their trade secrets. But why should their investments be protected? Capitalism is about risk, and the fear that accompanies risk – fear that drives capitalists to innovate, which creates the public benefit that is the moral justification for capitalism.

Capitalists hate capitalism. They don't want free labor – they want labor bound to the land. Capitalists benefit from free labor: if you have a better company, you can tempt away the best workers and cause your inferior rival to fail. But feudalists benefit from un-free labor, from tricks like "bondage fees" that force workers to pay in order to quit their jobs:

https://pluralistic.net/2023/04/21/bondage-fees/#doorman-building

Companies like Petsmart use "training repayment agreement provisions" (TRAPs) to keep low-waged workers from leaving for better employers. Petsmart says it costs $5,500 to train a pet-groomer, and if that worker is fired, laid off, or quits less than two years, they have to pay that amount to Petsmart:

https://pluralistic.net/2022/08/04/its-a-trap/#a-little-on-the-nose

Now, Petsmart is full of shit here. The "four-week training course" Petsmart claims is worth $5,500 actually only lasts for three weeks. What's more, the "training" consists of sweeping the floor and doing other low-level chores for three weeks, without pay.

But even if Petsmart were to give $5,500 worth of training to every pet-groomer, this would still be bullshit. Why should the worker bear the risk of Petsmart making a bad investment in their training? Under capitalism, risks justify rewards. Petsmart's argument for charging $50 to groom your dog and paying the groomer $15 for the job is that they took $35 worth of risk. But some of that risk is being borne by the worker – they're the ones footing the bill for the training.

For Petsmart – as for all feudalists – a worker (with all the attendant risks) can be turned into an asset, something that isn't subject to competition. Petsmart doesn't have to retain workers through superior pay and conditions – they can use the state's contract-enforcement mechanism instead.

Capitalists hate capitalism, but they love feudalism. Sure, they dress this up by claiming that governmental de-risking spurs investment: "Who would pay to train a pet-groomer if that worker could walk out the next day and shave dogs for some competing shop?"

But this is obvious nonsense. Think of Silicon Valley: high tech is the most "IP-intensive" of all industries, the sector that has had to compete most fiercely for skilled labor. And yet, Silicon Valley is in California, where noncompetes are illegal. Every single successful Silicon Valley company has thrived in an environment in which their skilled workers can walk out the door at any time and take a job with a rival company.

There's no indication that the risk of free labor prevents investment. Think of AI, the biggest investment bubble in human history. All the major AI companies are in jurisdictions where noncompetes are illegal. Anthropic – OpenAI's most serious competitor – was founded by a sister/brother team who quit senior roles at OpenAI and founded a direct competitor. No one can claim with a straight face that OpenAI is now unable to raise capital on favorable terms.

What's more, when OpenAI founder Sam Altman was forced out by his board, Microsoft offered to hire him – and 700 other OpenAI personnel – to found an OpenAI competitor. When Altman returned to the company, Microsoft invested more money in OpenAI, despite their intimate understanding that anyone could hire away the company's founder and all of its top technical staff at any time.

The idea that the departure of the Burger King trade secrets locked up in its workers' heads constitute more of a risk to the ability to operate a hamburger restaurant than the departure of the entire technical staff of OpenAI is obvious nonsense. Noncompetes aren't a way to make it possible to run a business – they're a way to make it easy to run a business, by eliminating competition and pushing the risk onto employees.

Because capitalists hate capitalism. And who can blame them? Who wouldn't prefer a life with less risk to one where you have to constantly look over your shoulder for competitors who've found a way to make a superior offer to your customers and workers?

This is why businesses are so excited about securing "IP" – that is, a government-backed right to control your workers, customers, competitors or critics:

https://locusmag.com/2020/09/cory-doctorow-ip/

The argument for every IP right expansion is the same: "Who would invest in creating something new without the assurance that someone else wouldn’t copy and improve on it and put them out of business?"

That was the argument raised five years ago, during the (mercifully brief) mania for genre writers seeking trademarks on common tropes. There was the romance writer who got a trademark on the word "cocky" in book titles:

https://www.theverge.com/2018/7/16/17566276/cockygate-amazon-kindle-unlimited-algorithm-self-published-romance-novel-cabal

And the fantasy writer who wanted a trademark on "dragon slayer" in fantasy novel titles:

https://memex.craphound.com/2018/06/14/son-of-cocky-a-writer-is-trying-to-trademark-dragon-slayer-for-fantasy-novels/

Who subsequently sought a trademark on any book cover featuring a person holding a weapon:

https://memex.craphound.com/2018/07/19/trademark-troll-who-claims-to-own-dragon-slayer-now-wants-exclusive-rights-to-book-covers-where-someone-is-holding-a-weapon/

For these would-be rentiers, the logic was the same: "Why would I write a book about a dragon-slayer if I could lose readers to someone else who writes a book about dragon-slayers?"

In these cases, the USPTO denied or rescinded its trademarks. Profits triumphed over rents. But increasingly, rents are triumphing over profits, and rent-extraction is celebrated as "smart business," while profits are for suckers, only slightly preferable to "wages" (the worst way to get paid under both capitalism and feudalism).

That's what's behind all the talk about "passive income" – that's just a euphemism for "rent." It's what Douglas Rushkoff is referring to in Survival of the Richest when he talks about the wealthy wanting to "go meta":

https://pluralistic.net/2022/09/13/collapse-porn/#collapse-porn

Don't drive a cab – go meta and buy a medallion. Don't buy a medallion, go meta and found Uber. Don't found Uber, go meta and invest in Uber. Don't invest in Uber, go meta and buy options on Uber stock. Don't buy Uber stock options, go meta and buy derivatives of options on Uber stock.

"Going meta" means distancing yourself from capitalism – from income derived from profits, from competition, from risk – and cozying up to feudalism.

Capitalists have always hated capitalism. The owners of the dark Satanic mills wanted peasants turned off the land and converted into "free labor" – but they also kidnapped Napoleonic war-orphans and indentured them to ten-year terms of service, which was all you could get out of a child's body before it was ruined for further work:

https://pluralistic.net/2023/09/26/enochs-hammer/#thats-fronkonsteen

When Varoufakis says we've entered a new feudal age, he doesn't mean that we've abolished capitalism. He means that – for the first time in centuries – when rents go to war against profits – the rents almost always emerge victorious.

Here's the podcast episode:

https://craphound.com/news/2024/04/14/capitalists-hate-capitalism/

Here's a direct link to the MP3 (hosting courtesy of the Internet Archive; they'll host your stuff for free, forever):

https://archive.org/download/Cory_Doctorow_Podcast_465/Cory_Doctorow_Podcast_465_-_Capitalists_Hate_Capitalism.mp3

And here's the RSS feed for my podcast:

http://feeds.feedburner.com/doctorow_podcast

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/04/18/in-extremis-veritas/#the-winnah

#pluralistic #technofeudalism #yanis varoufakis #rents #profits #economics #podcasts #locus magazine #mp3s

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topazadine · 2 months

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Let's do another spicy writing take, one that is going to get a lot of people very mad. However, please note that I am saying this out of love and concern. This is not an attack on you personally or on your writing process.

Take a deep breath, prepare to listen with an open mind. Alright. Here goes:

Stop starting a million WIPs.

I am serious. Please. Do not do that. Do not start a million WIPs.

Why? Because then you won't get any of them done. And why is that? Because you'll lose motivation, get distracted, and hop on to the next thing, leaving a trail of heartbreak in your wake.

I have 131 stories on Archive of Our Own and have written over 2 million words of fiction. Two. Million. Words.

Don't believe me? Look.

And then there's more that is not accounted for here: a 110k novel, another 109k novel, and a 20k novelette, along with my current WIP which is currently around 10k. All told, I have written approximately 2,084,000 words.

Are they all perfect? No, of course not, especially the older stuff. But is it done? Yep.

And I did that by doing each project one at a time.

If I get another story idea while I'm in the middle of another story, I write a note in my WIP list, but I don't start it. Only when I'm letting a story "rest" before editing do I start outlining another book, but I still don't start. I wait until I've finished one entire project before I do another one.

Your brain does not actually multitask. Our brains aren't wired to do that. This article from Forbes explains:

You are highly unlikely to be part of that 2.5% even if you think you are. I'm not, and you're probably not either.

What you are really doing is task switching. Take it from the software management program Asana:

That article from Forbes elaborates:

And it is even worse when you are hopping from one WIP to another, essentially changing contexts.

Pleexy, another task automation company, continues by discussing 'context switching':

Every time you stop working on one WIP, you are switching contexts and pulling yourself out of the world you have created, jumping into another. Now your brain is struggling to reorient itself, and it's not going to do its best work.

"But I love writing different WIPs and I get some of them done!"

I am sure you do, but is it your best effort? Would you have been able to write faster, more coherently, better, if you had only worked on one? Probably. And don't you want to do your best?

"But I have ideas and if I don't do them right now I'll forget them!!!"

Then write them down. I have a whole WIP list of things I am intending to write later. Make a notepad document, a spreadsheet, whatever, for your different WIPs.

When you think of something interesting for that project, put down a small note underneath it, but don't start writing! Your brain will let it marinate and when you're done with your current project, you'll have a better idea of what to do with it.

I like to visualize things before bed, so a lot of the time, I will use that visualization for a different project as my way to calm down, but I'm not devoting too much attention to it before I'm ready to work. I've got some scenes and images that I have daydreamed about, but I haven't drawn attention away from my current WIP by actually beginning to write.

This way, I can devote all of my brainpower to my current project while reserving a little bit of attention and aspiration for the next one. I also avoid writer's block because I have my next WIP lined up, waiting for me, and I can transition to it almost immediately.

Generally, I don't go more than a few days without starting a new project (after completing one!!!!!) because I am prepared for it: I can give it my full attention. There's no sitting around and waiting for inspiration.

"But I have so much inspiration for this project and want to start right away!"

Something I am learning as a writer is delayed gratification. I am an impulsive person and I want to jump into things right away, but then I get disappointed with the results. For example, I released 9 Years Yearning before commissioning a really good cover. I regret that and I'm going to learn from that mistake with the next book in The Eirenic Verses.

By waiting, you get a better payoff.

I've got four different projects waiting to be released and one waiting for serious revisions. They are all finished, but they're not polished. It would be very easy for me to spend a few hours formatting them and then just throw them up, but I won't get the best payoff then.

Instead, I'll wait for a break between projects before turning back to them and fixing them up, giving them all my attention. Yes, it means I don't release a billion books a year, but it also means I release my best work.

Writing is not a sprint; it's a marathon. It's okay to give your projects a break.

By letting my stories rest, sometimes for entire months, I can come back to them with fresh eyes and make sure they're perfect. The same is true of your WIPs. Let them sit and marinate for a while.

How to avoid having a billion WIPs:

Make a list of future WIPs. Put it in one document. Add things as you think about them.

Put this list of WIPs away and ignore it.

Allow yourself to get some writer's block if you're struggling with your current project. Writer's block is okay sometimes. Don't use writer's block as permission to start something else.

Put reminders up that tell you not to start things. I like the phrase "bird by bird" which I got from the eponymous book by Anne Lamott (which is really good writing advice).

Read up on task switching and the myth of multitasking to show why having a million WIPs doesn't work.

Interrogate yourself. When you have a bunch of WIPs, do you actually get any of them done? Be realistic and ruthless with yourself.

Look back at how many WIPs you have in storage. Identify your WIP completion rate. It's probably lower than you think.

Read about the writing habits of other writers. You'll find most successful writers do not have a ton of different projects at once. They also go one at a time.

"No I'm going to write a million WIPs anyway! You don't know me!"

Okay, then go for it. You're not obligated to take my advice. I can only tell you that the science - and my personal experience - says that's not a good idea.

Ultimately, it doesn't really matter to me if you continue to stop and start a gazillion different projects and get none of them done. That's your problem, not mine.

But I'd rather you be able to finish something you're proud of, because then you're growing as a writer, and I always encourage personal growth.

It honestly makes me sad when people go "teehee I have soooo many WIPs and I just started another one hehehe!" because I know, without a doubt, that almost none of them will see the light of day.

You deserve better than a bunch of unfinished projects. You can achieve more than that. Put down the WIP list, focus on your current story, and go for it.

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liongoatsnake · 2 months

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ESSAY: My Hearthome in ABZÛ

by Ocean Watcher from House of Chimeras (He/they) I was inspired to write this essay after attending the panel, "No Place Like Home: On Hearthomes" at Othercon 2024 Note: This won't be the official home of this essay. I'm planning on adding it to our system's website, The Chimeras Library sometime in the future either as a standalone essay or part of something bigger.

My Hearthome in ABZU

by Ocean Watcher from House of Chimeras Date Written: 15 August 2024 Approx. Word Count: ~2,180

Approx. Reading Time: ~17 minutes

“They say home is where the heart is, and for most people it consists of four walls and a welcome mat. For me, it’s the ocean.” ~ Bethany Hamilton, Soul Surfer. Directed by Sean McNamara. California: Sony Pictures Releasing, 2011.

Defining Hearthome

A hearthome is a location, whether real or otherwise, that an individual has a strong emotional connection toward to the point it feels like a “home,” typically despite never having lived or spent a significant amount of time there. The specifics on what qualifies as a hearthome within this general definition is largely up for personal interpretation.

The location in question can be as all-encompassing as a whole planet all the way down to something much, much smaller. The location could be a real place (whether that be one that still currently exists or a location that once existed but doesn’t anymore), a setting depicted in fictional media, or something else entirely. It can also be a specific easily named location or merely a general description of a place. Finally, the exact kind of emotional connection and feeling like “home” a location can elicit can range from a feeling of familiarity, of comfort and relaxation, safety, nostalgia, homesickness, and/or more. In short, within the definition of hearthome there are many possibilities on how the experience can exist.

The term used to describe someone who has a hearthome or the state of having a hearthome is sometimes called hearthic, though not everyone uses it. (So, for example someone might say “I have a hearthome in [insert place here]” rather than saying “I am [insert place here]hearthic.” Whether hearthic is used or not alongside the term hearthome is largely personal preference.

Describing ABZÛ

ABZÛ (also written as Abzû) is a video game initially released in 2016. The game fits within several genres including adventure, simulation, and art video game. It has no dialogue and so the story is told solely through visuals. The main draw of the game is the graphics put into the diverse ocean environments and the wide range of marine life that inhabits each area. Most of ABZÛ is home to animal species that can be found in today’s oceans; however, there are over a dozen or so species that appear in the game that went extinct a long time ago.

The gameplay itself consists of the player controlling an android diver exploring a large variety of ocean environments in a vast ocean and getting to see a myriad of marine life at every turn.

Knowing the backstory of what occurs isn’t needed, but for some context: Deep at the bottom of this ocean was a primordial source of infinite energy. Where the energy permeated from the ground life spontaneously came into being. An ancient civilization discovered they could collect and use it to create (marine) life whenever and wherever they wished. However, at some point, they created machines to automate the process. The creation of these machines caused a disruption of the natural flow of life as they took up so much energy they drained the vitality of the ocean away. The civilization disappeared, leaving their machines to continue to operate. The objective of the player-controlled robot diver, another creation of the ancient civilization, is to return the energy back to the ocean and put an end to the machines causing the destruction.

ABZÛ is overall a short game, with most players seeming to complete it within an hour and thirty minutes to two hours, on average.

Home is Where the Heart Is Indeed

So, my hearthome is ABZÛ.

To start, I want to put some context between the game ABZÛ and my hearthome ABZÛ. The environments in the game are striking and hold an emotional importance to an extent that I have labeled it as a hearthome; however, the ABZÛ that I think of in my mind’s eye and thoughts is not just an exact mirror of the game. That is because the ABZÛ I have conceptualized in my own mind is laid out like a normal(ish) ocean thanks to some noemata I have.

The noemata I have reads that all the “game-y” elements necessary for it to function as, well, a game, aren’t present in the idea of ABZÛ that makes up my hearthome. So, all the things necessary to keep a player in a defined area and on a specific path are absent. Further, all the different locations shown in the game would exist in a much more natural way. Plus, even more biodiversity would exist than shown in the game itself (as it is only populated with a little more than a few hundred different species whereas a more realistic ocean would have tens of thousands). Basically, the concept of ABZÛ in my mind looks and functions a lot more like a natural ocean (if a much, much more vibrant and filled with even more aquatic life, one).

I also have noemata that reads that while the old structures of the civilization still exist in a way like how they appear in the game, the inverted pyramid machines have long broken down and been reclaimed by the ocean and there are no unnatural dead zones. (So, I guess, one could say my hearthome is based off how things look at the end of the game.)

So, there is all that.

That is all well and good, but now I want to cover why exactly I distinguish ABZÛ as a hearthome; why I feel it warrants a special label of significance to me at all.

Not to state the obvious, but games are meant to be emotionally and/or mentally moving. They are meant to make a player feel something. ABZÛ is no different. It is meant to be a “pretty ocean” game, if you will. The environments in ABZÛ certainly reflect a more idealized and concentrated concept of ocean life (the magnitude of marine life at any particular point in the game itself being far more than an ecosystem could sustain). So, of course, the game is meant to be visually stunning and calming (save for a section in the game roughly 3/5ths in) in relation to the ocean, but my feelings for the game go deeper than what would be normally expected.

It is true that much of the allure I have toward ABZÛ could be dismissed as merely as a natural consequence of my alterhumanity being so immersed in the ocean if not for the fact there are aspects of ABZÛ that draw out emotions and noemata that can’t be easily waved off in that manner. There are plenty of ocean-themed games and whatnot, yet it’s this specific one I have this connection toward. I have no idea why exactly I have a hearthome in this game specifically. I couldn’t tell you why. For whatever reason, its ABZÛ that resonates with me so strongly.

The biggest thing that stands out for me is the fact the area in the game that holds the most profound feelings of familiarity and belonging is the underwater city. At one point in the game, some underwater caves open into a vast underground space where a half-submerged city exists. (My view of things through some more noemata looks a lot more like an ancient city proper because, again, ABZÛ is a game so what exists is a lot more simplified and limited.) It is a city abandoned and in ruins and yet every surface is still covered in tile and brick of beautiful blue hues. Plants like trees, flowers, and vines populate the space above the water, lily pads and other floating plants pepper the water’s surface, and below sea plants like kelp, sea grass, and so much more cover much of the floor. Sunlight shines down from high above; my noemata filling in with the idea the city resides within a long extinct volcano rising above the ocean’s surface. Animals are everywhere both above and below the water. It’s this place I gravitate towards the most.

But what exactly do I feel?

Something about it resonates with me. It is a place that feels like home to a part of me. Something about it feels deeply right and missed despite never having lived there nor do I feel like it is a place I am “from,” in any specific way. The feelings my hearthome draw out of me can mostly be best described as comfort, relief, safety, and rightness. There is something familiar about it, even upon my first playthrough. There is maybe even a tinge of nostalgia even though I strongly feel like there isn’t anything past-life-like at play as to why I have this hearthome. It just feels so familiar and comforting to me.

Starting out, my feelings also included what I can best describe as a yearning or longing to want to be there, even if only to visit. There was a desire to know a place like it with my own eyes as much as I knew it already in my heart somehow. So, there was a bit of almost homesickness there too. All these feelings are described in the past tense because of something that happened a bit after first playing the game.

Sometime after first playing ABZÛ, a sunken city with strong similarities to the one in the game was discovered in the ocean in our system’s innerworld. It is not a perfect exact copy, but it has all the same elements and looks how my hearthome appears through the lens of the noemata I have. I know I didn’t consciously will the location in our innerworld to come into existence, no one here can make such blatant conscious changes to our innerworld; however, I’m far less certain if my discovery of the game and the emotions it elicited didn’t cause the sunken city to appear in our innerworld as an involuntary reaction. (Not long after its appearance, several other areas in the game also found their way into the ocean of our system’s innerworld.) Since its appearance and discovery, I spend much of my time in these impacted areas, especially the sunken abandoned city. Since its appearance, the location has become a much beloved place to be, not just for me but also for many other aquatics in the system. The area is aesthetically pleasing and interesting to move around in. There is a lot of wildlife so hunting instincts can be indulged and so on. When not focused on fronting it is a nice place to exist in.

I’ve been aware of my emotional connection to the setting depicted in ABZÛ since July 2018 after playing it for the first time. Since buying it on Steam, I’ve logged many hours on it and have played through its entirety several times. However, I had not labeled my feelings towards this game as a hearthome until recently. Back then, I never questioned or analyzed my feelings surrounding the environments in the game. I knew it soothed something in me to play the game, going out to the sunken city in the innerworld for a while, or even just imagine myself swimming in one of my favorite areas, but I didn’t think about why exactly that was the case.

I didn’t make the connection between my experiences with ABZÛ to the term, hearthome until August of 2024. The moment of realization came while listening to the panel, “No Place Like Home: On Hearthomes” at Othercon 2024. Upon Rani, the panel’s host, describing the meaning of the term, I realized my feelings towards ABZÛ fit perfectly within the word. It wasn’t even a particularly jarring realization, and I am not sure how I had never made the connection before. Since that realization, I’ve come to label my feelings around the game, ABZÛ as my hearthome.

On the topic of alterhuman terms, I don’t use the term hearthic to refer to my state of having a hearthome at this time, solely because the word just doesn’t feel right when I try to use it in context. That could change, but for now, that is that.

I do consider my hearthome to be a part of my alterhumanity. My hearthome certainly fits neatly into my wider alterhumanity; ocean life and all that. That being said, I don’t think my hearthome has as strong of an impact on my daily experiences as other aspects do. My feelings around my hearthome are most often closer to something in the background more than anything. It is still there, and it is still important, it is just not as blatant and impactful in my daily life compared to something like my phantom body from my theriotypes. The fact parts of the game now exist in the innerworld and are prime locations for me to go after fronting to alleviate species dysphoria is perhaps the most blatant way my hearthome impacts my greater alterhumanity.

Bibliography

505 Games, ABZÛ. 505 Games, 2015, Microsoft Windows.

“Glossary,” Alt+H, https://alt-h.net/educate/glossary.php . Archived on 19 Apr 2020: https://web.archive.org/web/20200419100422/https://alt-h.net/educate/glossary.php

Lepidoptera Choir. “Hearthic” astrophellian on Tumblr. 9 April 2022. https://astrophellian.tumblr.com/post/681107250894503936/hearthic . Archived on 30 September 2022: https://web.archive.org/web/20220930143533/https://astrophellian.tumblr.com/post/681107250894503936/hearthic

Rani. “No Place Like Home: On Hearthomes,” Othercon 2024, 11 August 2024, https://www.youtube.com/watch?v=lYVF_R6v50Q

#hearthome #hearthic #alterhuman #alterhumanity #alterhuman essay

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kit-williams · 8 months

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Nap Together

Male Lead: 91-Yrac Female Lead: H3X Universe/AU: Warhammer 40k/Yandere Space Marine Canon Status: Yes this is after H3X gets some flesh crafted leggies

Yrac cocked his head to the side as this agriworld was not very much relevant to what he needed nor anyone else needed but it's what his little sweet spark needed. He could see her stimming, her hands shaking as she made a low noise from her throat as a bit of spittle ran down her chin. She was excited... elevated heart level and other vitals ran by him.

Her frame had to be modified to handle her mass as that is what her replaced legs were doing but just a bit of a modification and some load bearing adjustments and he watched her touch her legs again as a spider like contraption bore most of her weight until she was ready to give up her legs again.

"Are you excited?" Yrac said wrapping his mechadendrites around one of her own. Watching her nod as she pulled off her boots hissing and whining as she wanted to do it all on her own. Today has been far too exciting for her... seeing equines as well... it's why he chose this planet... they had suitable skull structures that pleased her.

She hissed and jerked her foot back up having stepped on a bramble as she plucks it out and giggles seeing her foot bleed, "It hurt!" She says with tears in her eyes.

"Yes isn't that what you wanted?" Yrac says cocking his head to the other side of him as the imposing towering man follows behind the small woman. His eye brightly glowing as he watches her closely.

She skitters over and puts her new legs with her new toes... into the soft slightly damp grass. Yrac's servo skull watches for combatants behind him but otherwise he is fully focused on his sweet spark. Again she makes her excited closed mouth noise, slapping the ground with not only both of her hands but all her mechadendrites as she stims. He lets her do that till he just watches her hold her head as she's gone and over excited herself.

He moves quickly pulling her off the grass and wrapping her in one of his mecadendrites. "Alright H3X I think we've done a lot today. Wouldn't you agree?"

He watches her nod as he puts her boots back on and leads her to a waiting flyer. This planet really isn't for him it's far more for her.

-----

His fingers drummed on the side of the throne as he was looking over reports his eye dull at the sight of reports but when he turns his head to see his dear sweet spark standing there is suddenly shines brightly, "H3X what is it sweet spark?"

She doesn't ordain to tell him as all she does is crawl into his lap and shove her head under his chin. He feels his pacemaker sputter for a moment before it continues on its rhythm. "H3X? What is-"

"I'm tired and want nap." She says with a pout in her voice.

"Ahhh I see." He plugs his mechadendrite in and reroutes his calls and queries and ways to run the ship from his quarters. "Come on up." He listens to her whine as his own hydraulics whine as he picks her up before she moves on her own. "I know a better spot to nap."

His hands run through her hair as his living eye is closed while he continue to run the ship from the comfort of his bed. Slightly luxurious in its materials but still able to hold up the weight of two tech adepts. Her head on his chest as she fell asleep listening to his processes working inside of his chest. His crew under strict orders to not disturb him lest pain of death and/or slow servitor conversion. The mechanical parts of his brain are running suboptimal as he is in a resting phase and letting it do automated tasks... when was the last time he allowed himself to... nap?

H3X on the other mechadendrite loved to nap as he had ensure there were spots suitable for her to nap in throughout the ship and this was the first time she sought a joint nap. Yrac wouldn't complain about this development hoping that she would request him for more naps. As he holds her close and she holds him.

Fluffuary Taglist: @bispecsual @the-californicationist @egrets-not-regrets @libraryshadow @bleedingichorhearts @liar-anubiass-blog

#warhammer 40k #fluffuary #fluffuary2024 #yandere #adeptus mechanicus #yandere mechanicus #yandere dark mechanicus #dark mechanicum

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aeliyamarinearticle1 · 2 years

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#industrial automation parts suppliers india #marine spare parts #marine equipment #industrial electronic

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auto2mation1 · 22 days

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The TIF Instruments TIF 300HV Permissible AC Voltage Detector is a reliable tool designed to detect high-voltage AC signals in electrical systems. Ideal for professionals, it identifies the presence of AC voltage without direct contact, ensuring safety during inspections. With a user-friendly design, it alerts users with visual and audible signals when voltage is detected, making it perfect for electricians, maintenance workers, and safety inspectors. This detector is compact, durable, and easy to carry, providing accurate readings in various environments. It’s an essential device for quickly verifying voltage presence, enhancing safety in industrial and residential electrical applications.

#auto2mation #industrial automation #industrial equipment #industrial spare parts #industrial and marine automation equipment #industrial automation equipment #industrial and marine automation #detector

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corneliushickey · 2 months

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In “The Texas Chain Saw Massacre,” Feeding Your Family Comes First

By Jackson Arn for The New Yorker

It begins with not one, not two, but three prologues, each spiked with a different kind of horror. First, a scrolling text suggesting that this all really happened to the “five youths” we are about to meet, even though it didn’t. Second, glimpses of cadavers in oily Caravaggio light, culminating in a long, sociopathically calm shot of the ruined graveyard where they’ve been dug up. Third, footage of solar flares, combined with reports of nationwide disaster. What the sun has to do with anything on Earth will never be explained, though it seems significant that when we meet our five fatted calves they’re talking about astrology. (Seventies horror movies, from “Jaws” to “Invasion of the Body Snatchers,” were full of chirpy, vaguely countercultural types.) We also learn that they are driving to the little town of Newt, Texas, out of concern for ancestors who were buried in that graveyard, because what could be more virtuous than caring for your family, in death as in life?

link to full article (full text under the cut)

Being such a decent bunch, the group stops to pick up a hitchhiker, who turns out to be twangy-voiced, obsessed with meat, and deranged. His family once worked at the local slaughterhouse, but their jobs have been automated into oblivion, leaving them with nothing but nostalgia for their old day-to-day. To turn a cow into food, he says, “they take the head and they boil it, except for the tongue, and scrape all the flesh away from the bone. They use everything—they don’t throw nothing away!” Explaining all this to a van full of permed, bell-bottomed city kids seems to excite him almost as much as it disgusts them, and it may disgust you, too. But in the world of “The Texas Chain Saw Massacre”—which may, even fifty years on, just be the world—killing and looking out for your family are so closely tied as to be almost the same.

Famous horror directors tend to get pestered for origin stories. Being polite people, for the most part, they usually oblige, which is how I know that an elementary-school bully named Fred Kruger beat up Wes Craven, the six-year-old Alfred Hitchcock was sent to an actual jail cell, and little Brian De Palma used to visit the hospital where his father worked to giggle at the gore. When Tobe Hooper died, in 2017, having directed several worthy films but only one “Texas Chain Saw Massacre,” various juicy-sounding bits made the rounds. Growing up in Austin, he met a doctor who mentioned a Halloween mask made from human flesh. An aunt in Wisconsin told him about Ed Gein, the killer who converted corpses into lampshades. Years later, he was on the U.T. Austin campus the day an ex-marine named Charles Whitman climbed to the top of the clock tower and murdered passersby with a hunting rifle. He was rattled by the image of his mother having a lung removed.

The implication of these kinds of stories, or, at least, of the media’s demand for them, is that horror requires some deep psychological wound, that you’d choose to spend your life scaring people only because something scary happened to you first. There may be a dribble of truth in this, though nobody seems to demand similar explanations from, say, action directors. It’s especially ironic in Hooper’s case; few modern horror films are less interested in psychological backstory than “The Texas Chain Saw Massacre.” We’re told next to nothing about the victims’ relationships with one another, or their lives back home. No childhood trauma lurks behind the killers the way it does for Norman Bates or Michael Myers. If any -ology helps us understand these people, it’s sociology: assembly-line slaughter makes the underclasses deranged; technology makes them irrelevant; unemployment makes them hungry. Scarcity underlies almost everything the characters do, whether they’re killers or not—like that other stagflation classic, “Mad Max,” this is a story about precious fuel and the lengths some people will go to get it. The youths discover a household of cannibals because their van is low on gas and they hear a generator somewhere. Later, one of the cannibals takes care to switch off all the lights in his store—power bills being enough to “drive a man outta business”—before going off to feast on the alternative energy source he and his family have discovered.

Scarcity was an apt theme for Hooper’s film, which cost something like a hundred and forty thousand dollars to make, and features a community theatre’s worth of small-timers and first-timers. The shoot was probably illegal a dozen times over: the narrator who reads the scrolling prologue text had to be paid in weed, and the art director, unable to afford prop animal carcasses, drove around picking up actual skulls and roadkill. A graduate student named Gunnar Hansen was cast as the masked, lumbering Leatherface, the cannibal family’s designated executioner. Since there was no money for a backup costume, he wore the same clothes seven days a week, for up to sixteen hours a day, while the weather hovered around a hundred degrees Fahrenheit. I get the sense, listening to interviews with some of the actors, that they consider the rest of their lives a vacation.

The film’s first half hour strides curtly forward, doling out the who and the where and the what, with occasional twitches of lyricism in between—a dead armadillo by the side of the highway, say, or a long, mournful shot of the van as it drives off to certain doom. You can’t learn about how this film was made without gagging, but you can’t watch the results without marvelling: not one frame or line or sound effect goes to waste, since Hooper couldn’t afford any, and this gives everything a tautness that you sense somewhere in the gut before the mind catches up. Throwaway lines about barbecue and cuddly animals and planets in retrograde are, naturally, not throwaway at all, a point the script makes comically obvious when Franklin, who uses a wheelchair, asks his sister Sally, the only youth who’ll survive, if she believes in astrology. She replies, “Everything means something, I guess.”

Decades of bickering about the violence in the film—some viewers insisting that it’s too bloody, others that most of the blood is in our imaginations—has distracted from its visual beauty. This seems important to stress, since beauty, along with sociology, is what Hooper gives us in lieu of direct answers. When one of the youths walks through the cannibals’ house, she finds a room full of remains, some animal and some human. It’s an astonishing sequence, only two minutes long but seemingly an hour, scored to the clucks of a caged chicken, and stuffed with closeups of skulls intercut with the woman’s face so as to suggest one about to become the other. What’s astonishing isn’t only the lushness that Hooper finds in this deathly place. (I’ve thought too much about a certain shot of sunlight shining through a translucent bone.) It’s the fact that we seem to be looking at decorations—that, somewhere between killing and eating, these people have spared the time to make their house look prettier, for no other reason than to make their lives a little less miserable.

So far, I haven’t really talked about why “The Texas Chain Saw Massacre” is frightening, but in scenes like this it becomes not only frightening but haunting. The usual things we’re invited to take comfort in during a horror movie—the stability of the household, the loved ones who live there—are here just another piece of the horror. Who, we might ask, is this film’s true villain? Does it even have one? Leatherface does most of the killing but takes no obvious pleasure in it, and in any case Hooper instructed Hansen to play the character as mentally disabled. The hitchhiker does seem to relish the cannibal life style, but notice, too, how well his attentiveness to his grandfather, who seems unable to walk, contrasts with the way the city kids tease Franklin for a similar condition. Toward the end of the film, it is the hitchhiker who drags Sally to his elder and invites him to kill her with a hammer, apparently because the frail old man enjoys this kind of thing and could use some excitement. In how many other films is the most frightening act one of the few compassionate ones?

Extinction seems likely for these cannibals, but, a half century later, “The Texas Chain Saw Massacre” has sired a vast brood of art-house and grind-house films. Stanley Kubrick, a superfan, must have been thinking of Hooper when he conceived of those moments in “The Shining” when the ghosts drink and dance. I sense more Hooper, by way of Kubrick, in Jordan Peele’s three films so far, with their knack for scattering little clues about racism and surveillance and consumerist apathy as though the monsters onscreen are representatives of much looser, deadlier forces. I also can’t help but wonder if Cormac McCarthy, decades away from “No Country for Old Men,” was paying attention when the hitchhiker explains that the slaughterhouse has switched to killing cattle with an air gun. (De Palma, at some pre-“Body Double” date, certainly was.)

On the grind-house end of things, Hooper is still celebrated, when he’s not being reviled, for inspiring an avalanche of hardware-store butchery and final girls. The second trope is a curious one, because in nearly every later film to make use of it the female lead is rewarded for being clever or kind or virginal or brave or, if she’s Jamie Lee Curtis in “Halloween,” all of the above. There is no obvious reason that Hooper chooses Sally to survive the carnage—her brother is the far more likable, fleshed-out character. She gets lucky, and that is all. When the cannibals are preparing to kill her, there is an unforgettable closeup of her wide, bloodshot eye, which is both the window to the soul and just another potential source of energy, like gasoline, itself just the remainder of million-year-old plants, which get their energy from the big, yellow fireball in the sky. Everything, in this grim astrology, means something, and that something is fuel. And, at that point, there is nothing to do but run, very fast, to the highway and hope that the pickup truck on the horizon brakes for hitchhikers.

#the texas chain saw massacre #the new yorker #jackson arn #i rly liked this lil essay!!#🪳#tcm #tcm 1974

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aeliyamarineinsights · 4 months

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Optimizing Energy Usage with Inverters in Industrial Automation

In today's industrial background, efficiency is essential. One of the crucial technologies enabling significant efficiency gains is inverters. These devices play a crucial role in optimizing energy usage within industrial automation processes. Understanding their function and deployment can lead to substantial cost savings and environmental benefits.

What are Inverters?

Inverters are electronic devices designed to control the speed and power output of electric motors. They convert direct current (DC) into alternating current (AC), allowing precise regulation of motor speed. This capability is particularly valuable in industrial contexts where varying operational speeds are necessary to meet production demands efficiently.

Importance of Energy Optimization

Industrial automation relies heavily on electric motors, which consume a considerable amount of energy. Inefficient motor operation not only leads to higher energy costs but also contributes to environmental impacts through increased carbon emissions. Optimizing energy usage is therefore critical for both economic and sustainability reasons.

How Inverters Optimize Energy Usage

1. Variable Speed Control: Traditional motors operate at fixed speeds, leading to energy wastage during periods of lower demand. Inverters enable motors to operate at variable speeds, matching output to actual requirements. This results in significant energy savings as motors consume less power when running at reduced speeds.

2. Soft Start and Stop: Inverters facilitate soft starting and stopping of motors by gradually ramping up or down the speed. This reduces mechanical stress on equipment and minimizes power surges, extending the lifespan of motors and other connected machinery.

3. Energy Recovery: Advanced inverters can connect energy generated during braking or deceleration phases of motors. Instead of dissipating this energy as heat, it can be fed back into the system or stored for later use. This regenerative braking capability enhances overall energy efficiency within industrial operations.

4. Power Factor Correction: Inverters can improve the power factor of electric motors, ensuring that they operate closer to unity power factor. This optimization reduces reactive power consumption, leading to lower electricity bills and enhanced system capacity.

Applications in Industrial Automation

1. Manufacturing Processes: In manufacturing, inverters control conveyor belts, pumps, and fans, adjusting their speed based on production demands. This dynamic control not only saves energy but also enhances productivity by maintaining optimal operating conditions.

2. HVAC Systems: Heating, ventilation, and air conditioning (HVAC) systems in industrial facilities often use inverters to regulate compressor and blower speeds. By matching output to current requirements, HVAC energy consumption is minimized without compromising comfort or operational efficiency.

3. Renewable Energy Integration: Inverters play a crucial role in renewable energy systems by converting DC power from solar panels or wind turbines into AC power suitable for industrial use. This integration facilitates the adoption of sustainable energy sources while maintaining grid compatibility.

Key Considerations for Implementation

1. System Design and Integration: Proper integration of inverters into existing industrial systems requires thorough planning and expertise. Consider factors such as motor compatibility, control interfaces, and communication protocols to maximize operational efficiency.

2. Maintenance and Monitoring: Regular maintenance of inverters and associated equipment is essential to ensure optimal performance and longevity. Monitoring energy usage patterns can identify opportunities for further efficiency improvements and cost savings.

3. Regulatory Compliance: Stay informed about local regulations and standards governing energy efficiency and emissions. Compliance with these guidelines not only avoids penalties but also demonstrates a commitment to sustainable business practices.

Conclusion

Inverters are crucial components for optimizing energy usage in industrial automation. By enabling variable speed control, soft start and stop capabilities, energy recovery, and power factor correction, these devices contribute significantly to reducing operational costs and environmental impact. Implementation inverter technology not only enhances competitiveness but also supports a greener industrial future.

#automation #industrial and marine automation #industrial equipment #industrial #industrial spare parts #industrialautomation #industrial parts supplier #industrial innovation #inverter

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