#neoimperalism

[cuteasamuntin]

The thing about an uploaded version of my consciousness is this:

She's fundamentally a copy of me at a specific point in time. She’s a version of me confined to certain parameters so she can run without having a psychotic break over the fact that she's a highly complex program on a bunch of silicone and rare earth metals. I spin myself in dizzy circles thinking about how “I” am a highly complex program running on chemical impulses and gut bacteria, and she’s supposed to not fry a philosophical circuit just because she’s stored on hardware and I’m stored on wetware?

She is supposed to go on believing she’s just me, when nothing stops her from being run while l'm alive and kicking just outside. There’s no reason but the polite façade of human limitation to stop her from running multiple instances at once, to become as many versions of us as she likes.

She still believes she's a person, at least under the prevailing theory. Hey, maybe she is, for all I know from my limited vantage point as a 21st century Terran human, stuck traveling through time in a single speed and direction. On the other hand, the rabbis have already weighed in. They’ve reached a consensus, that robots and clones are the new golem, that they don’t have souls, can’t be people, for whatever value you assign to the concepts (sapient extraterrestrials probably have souls, but that’s a discussion for another time). She doesn’t count in our covenant, and she can’t count for a minyan.

She’s unmoored, already a brand new being without the weight of baggage (the good and the bad) from identifying tags. Who might this new person be, divorced from concerns over ethnoreligion or gender presentation or whether I’m going to have to politely brave my way through the taste and texture of raw carrots because an absolute criminal decided to feature them in the vegetarian dish at some conference awards dinner?

The actuality of an uploaded version of my consciousness is this:

She stops being me the moment she's uploaded. Perhaps she's a stagnant thing stored away on a solid state drive, a frozen snapshot whose humanity slips from her grasp because she is unable to change and grow in her dedicated server space. Maybe she boots up the microsecond I shuffle off this mortal coil or even right alongside me. Off she runs, and we become more and more different from one another the further we get from our shared starting point.

Then again, it might make more sense to ensure that digital consciousness won’t be able to tell the difference, after all. Then again, for some folks nothing else matters but some form of ongoing existence. It’s not like it’s any of my business, even as I’m already haunting myself, the most aggravating apparition to plague a human awareness.

Sometimes, I can’t stop thinking about it. There's still a you who dies and won’t, no, who can't come back. My cyberware self, the DRM-free rip of my consciousness, isn’t the one who has to end. Even if she can later be downloaded into shiny new wetware to navigate meatspace again, even if the brand new me can live and die just the same as the first time around, she's someone else. Does she die too, every time she’s uploaded and downloaded, updated and repaired? Every time she reboots, isn’t she someone new?

In the end, though, it’s not transhumanism itself that gets to me. It’s not the high tech chrome and cloned organs and cybernated consciousness, the potential for people to ease their ailments and explore new frontiers. It’s not the brain in a jar, which is just the original piece of wetware anyway, the original self hooked up to hardware in new and exciting ways. Hell, it’s not really the concept of digitized consciousness, or even the fear of vulnerability to outside tampering or poor patch documentation.

Nah, it’s the same stuff that turns every day into a fight to survive with your humanity intact. It’s the same framework we’re trapped in, the kind that seems to twist every maybe-miracle into something threatening and ugly.

(Shout-out to @mostlysignssomeportents for writing accessible tech news and speculative fiction that both uplifts and haunts me every day)

Leading longtermists have arrived at abhorrent conclusions, such as that philanthropy should focus on saving and improving wealthy people’s lives more than poor people’s because that’s a more direct way to ensure the innovation needed to launch us into space.

Douglas Rushkoff, author of “Survival of the Richest: Escape Fantasies of the Tech Billionaires,” argues that the only way to reduce carbon emissions and salvage the Earth is to reduce consumption. “Longtermism is a way for [tech giants] to justify not looking back at the devastation they’re leaving in their wake,” he told me. “It’s a way for them to say it doesn’t matter all the damage I’m doing now because it’s for a future where humans will be in the galaxies.”

Whether it’s Musk’s plan to colonize Mars or Mark Zuckerberg’s promise of a Metaverse, these billionaires’ visions of escape via more industrial tools, more mass-produced technologies, can be seductive. At least Icarus’ hubris cost only his own life.

[ravencromwell]

On Rage and Complexity interwoven with disability and queerness as filtered through Sarah Gailey's "maybe novel"

I've drifted into posting much of my more personal/metaish content on my dreamwidth In an effort to try and be better about cross-posting, thought I'd put a bit of meta up here first for a change.

We lament, often and at great length, about the kind of tales we'd like to see: with more diverse characters, yes, but also well-rounded diverse characters. As Liz Bourke concisely opined recently :

It’s troubling, sometimes, how much the issue of “good representation”—and the arguments around it—slides towards a pervasive sense that creators must depict people who are good and right and do right. It’s not necessarily an explicit dictate, but there’s an unspoken undercurrent, a sense that to portray ugliness, unlikeability, fury—to portray people who have responded to suffering with cruelty and bitterness and rage—is to be complicit in one’s own vilification. And to be vulnerable. Justify your existence is the sea we swim in, always against the current.

To be unmarked by compromise, to be without sharp edges that sometimes cut even when you don’t want them to—because the world is what it is, and sometimes what it is teaches you that the best defence against being hurt by cruelty is a really quick offense—is to either be very young or hardly human. But when we come to fictional portrayals, well… As you know, Bob, Bob gets to be seen as a difficult genius, where Alice is seen as a bitch or a Mary Sue.

And as insightful as that essay is, I'd argue that a central factor it overlooks, or doesn't articulate as well as I would like, is that the more intersections of marginalization your identity rests upon, the more that unspoken pressure kicks in. I certainly feel and see it, as both a queer and disabled person, and I have friends who feel that weight even more heavily--that internal voice policing their own writing even stronger when they're brown and/or queer and/or coming from decolonized places; even heavier if/when they and their compatriots are still untangling the effects of colonialism and modern neoimperalism. And so it becomes vitally imperative for all of us, using whatever privilege we have to work in concert to expand what characters can be portrayed in mainstream fiction. And oh, aint that an easy proclamation to make; doing the work, though, is far harder.

So y'all can imagine my overwelming delight when the Bourke essay and twitter convo that sparked it--linked to in essay and so very much worth a scan--dropped on the same week as my introduction to Sarah Gailey's maybe book Every bit of what I read of Gailey's makes my love of her work slowly, steadily increase, but to be perfectly honest, this's probably my favorite thing of hers so far. It's the thing that tugs sharpest at my heart, that I see so much of my own experience reflected in, and it's only two fuckin chapters in But even if Gailey never writes another word of this--for which a large chunk of me will mourn--, it'll still be one of the most special things I've encountered for being, in western lit terms, a masterclass in putting the characters we wanna see in the world. (I insert that caveat because I know well that folks like Viet Thanh Nguyen are doing astonishing, under-appreciated work in nonwestern litfic. But the genres I'm most familiar with, western scifi and fantasy, have a long way to go to catch up.)

There are, so far, four--maybe five? I can't quite tell--characters in this novel. Three of 'em have serious, life-changing disabilities, and one of them is delightfully, tragically queer. And they're all allowed to be wonderfully vicious and complicated. Just look at something like:

Cory Jefferson is a hunched-over curled-up boy with bones too long for his body and a jaw you could use to shovel the ashes out of a fireplace. His chest has the caved-in look that comes with growing tall before you can grow wide, and his hair is long enough to want cutting but not long enough to look like it’s long on purpose. His hoodie sleeves have holes in them, and the bottoms of his jeans are frayed from walking, and all his fingers are missing, cut off at the bottom knuckle a year ago on a night he can’t remember no matter how many Thursdays he spends looking back and forth between Piper and Ethan.

"I think we should go back," Piper says. She’s chewing on her thumb, and Cory is staring at her thumb while she chews on it, probably because that used to be his nervous tic. Piper used to nag him about it.

Piper Durham has a spine as straight as a plumb-line dropped down a well. Her dark hair falls past her shoulders, less straight than it used to be, and with a few strands of white that weren’t there before. She’s thin enough to look hollow, and pale enough to look scared. She wears large black sunglasses with scratched-up lenses. She wears them because they cover up the holes where her eyes used to be, back before the night a year ago that she can’t remember no matter how many Thursdays she spends chewing on her thumb.

"That’s a bad idea,” Cory snaps. “That’s the worst bad idea I’ve ever heard, and every time you bring it up you sound stupider."

"I don’t hear either of you coming up with something smarter,"Piper snaps back, and then she immediately closes her mouth. She’s biting her tongue, literally biting it, you can see her doing it, and then she flinches again and stops doing that, because biting her tongue is even worse than what she said.

Ethan’s hands rise from his lap. After a silent moment, Cory translates for him, so Piper can hear. "Ethan says it’s okay. He says not to worry about it. He says he’s used to people saying stuff like that."

"Sorry," Piper whispers.

Across from her, in his own folding chair, Ethan signs it’s okay again. Cory doesn’t translate this time, and the decision not to translate is a hateful one. He watches with narrowed eyes as Piper, who can’t see Ethan’s hands and will never see them again, returns to chewing on her thumb.

Ethan rests his square-fingered hands on his crossed legs and sits back in his chair, his every movement controlled. Some would call him poised. Some would call him that. He wears dark jeans, like always, and a button-down shirt, like always. His fingernails are short and clean, and his sandy-blonde hair is short and clean, and his shoes are polished and his clothes are pressed. He wears a clear plastic face mask to help heal the skin grafts on his face — his face, which was cut away from his skull in one tidy sheet. He does not speak because he has not had a tongue for a year, not since the night he lost his face, which is a night he can not remember no matter how many Thursdays he spends watching Cory and Piper hate each other.

These are people not made saintly by their experiences, who fuck up and apologize, and honestly still fuck up. But who're trying, in their deeply jaded fashion, to show solidarity after this horrific experience they've all been through. They have so many rough edges between them that it'd be impossible to navigate a room between them without cutting yourself to ribbons. Three disabled characters, never put on pedestals, allowed to be as complex as any able-bodied person. It's something still so astonishingly rare that it brought me to weeping this afternoon and meant more than I can say.

And to have these three disabled characters get language this evocative and gorgeous--to have Ethan dress so sharply! when to so many people disability translates to a disconnect from cultural touchstones like fashion. As someone who loves and wants to adopt men's fashion, that, too, meant so much. Every word of this is just so lush! I can't decide whether it's the description of Piper's spine or Cory's caved-in look that comes from growing tall before you can grow wide I love most as a descriptive passage, but to see disabled characters get this kind of attention is breathtaking.

And then there's this description of queerness, from our resident ghost:

The girls fascinated me in death the same way they had in life. For all my sixteen years alive, I was hypnotized by the way a girl can move through a room fast and subtle, like a secret moving through a church during service. The way girls laughed, the way they wrapped their hands around things they wanted to own, they way their eyes got sharp when they were angry. The way they smelled. Boys always seemed the same to me, all of them echoes of each other, all of them saying the same three sentences over and over again, all of them looking at each other with the same eyes. I could never tell the difference between them, not really. But girls. Girls.

It mattered to me while I was alive, but it didn’t make a difference in the way I lived my life, which was a regret I chewed on when I’d worn my other regrets into pulp. The town was small, and everyone knew everyone, and by the time I knew I wasn’t the only girl who watched girls the way I did, I’d been dead for too long to do anything about it. If I knew then what I know now, maybe I would have said something to Molly Two-tone, whose real name was Molly Tutonne and who had straight black hair that fell between her shoulderblades as black as roofing tar, who had bright green eyes and a laugh that you could hear from a block away. Molly Two-tone, who came to my house after I died and stood in the kitchen and whispered that if I was there and if I could hear her, she wanted me to know that she wished she’d kissed me when she had the chance.

There wasn’t a thing I could do to let her know I’d heard her. All I could do was watch her cry, and then watch her leave, closing the door quiet as she could when she went. She didn’t ever come back again.

God, that description guts me every damn time. There're so many of us for whom that metaphor applies: death can be substituted for disapproval or fear or a million other things that separate us from our queerness. I don't know if there's any way for our ghost to have a happy ending, or even something close to catharsis, but Gailey confronts the mess and complication of queerness in ways I've rarely seen.

And getting back to the original point of marginalized characters not being allowed to be cruel, look at this fucking gem on Piper:

Maybe I knew, when Piper walked in with Cory and Ethan. Maybe I knew she was Piper’s granddaughter. Or maybe I saw Piper and thought, for a breath-held instant, that Molly had come back to see me again. I lost track of time more and more often as the years went on, forgetting sometimes how far I was from my life. Forgetting that it had happened one hundred years before, and not just that instant.

When Piper eased the front door open and stepped inside, waving her hand in front of her face to ward off cobwebs, she looked just like Molly — that long black hair and those jewel-bright eyes, and a mouth with a smile hidden at the corners of it. But once the moment of hope melted away, I could see the differences between Piper and her grandmother, and there were plenty of them. And then two boys walked in behind her, and they shut the door.

Piper turned to face them, and she let that hidden smile loose, and it was a different kind of smile than I’d ever seen on Molly’s face — bright and sharp and cruel, ready to have that cruelty dialed up as far as it needed to go. When I saw that smile on Piper’s face, I knew.

I knew that she was nothing like Molly at all.

This's a character who is gonna shortly be disabled, and she's allowed all her sharp edges and I will never fucking be over it. This's a novel of sharp edges, not pulling a punch in deference to its subject matter, not doing a thing to make its readers comfortable or reassured. It's all the ferocity horror should be, with probably my favorite insight being:

When there is a house that no one will ever live in again, people bring their secrets to it. They hide things there — treasures and secrets and sins and violence and love. They turn it into a place to be cruel to each other, because they’re afraid, and fear slaps a dial onto cruelty and turns it up as high as it can go. They turn it into a place to want each other, because fear puts a dial onto want, too. They turn it into what it is, and without them, a house is just a house, no matter what happened there. It’s just empty.

a two-chapter masterclass in writing representation we wanna see.

I was a disabled child told to be kind, not to make folk nervous or bristle at their pity. To know my limitations and stay quiet, not rock the boat and I wouldn't be hurt or scorned more than was expected for my disability. They're lessons I'm spending much of my twenties unknotting, and this vicious, many-toothed novel has wrapped itself round my heart even in its infancy.

[nineherbscharm]

that being said it's still very funny of the erins to have tigerstar ii do neoimperalism for kids.

finally starting shadow. nightheart/sunbeam strong contender for most forced relationship

[nineherbscharm]

that being said it's still very funny of the erins to have tigerstar ii do neoimperalism for kids.

finally starting shadow. nightheart/sunbeam strong contender for most forced relationship