#power tools in canada

[squaareshardware]

Power Tool Accessories with Common Moving Parts That Must Be Safeguarded!

Power tool accessories with exposed moving parts must be protected. Machine guards must be provided, as needed, to protect the operator. Visit us to buy tool accessories.

[crossbackpoke-check]

what are ur thoughts on the winners room trope?

ooooo okay surface level analysis: i like winner’s room fics :)

etwas tieferes: i think it’s cool that it’s (afaik) unique to hockey fandom and i enjoy the way it integrates a lot of unspoken rules in hockey with desire/makes them a physical/tangible reality… also the narrative potentials/world-building it opens up can be fun because there’s not really a set of rules for the “winner’s room” trope. are there in-universe rules? who gets chosen? who’s exempt? who gets to pick? where’s it going down? is it the entire room or one guy? what if your (ex)boyfriend is on another team? does somebody need to be taught a lesson or do you need to remind someone who got traded you still love them? also, most important, winner’s room gives you the chance to put two random-ass guys you saw interact for 0.002 seconds and went “hmmm. interesting” about into a Situation and i love that

[amethystsoda]

“We have to show the smoke air that it’s not gonna win!!!”

*inhales deeply from wildfire cloud air, letting it infiltrate their lungs and putting them further at risk for illness

instead of wearing a filtering mask that would show the power of scientific innovation and control over nature to filter out many of the dangerous particulates and lessen risk*

[if-you-fan-a-fire]

"BOARDED-UP STUDIO ROBBED AFTER FIRE," Toronto Star. February 3, 1943. Page 3. --- Carpenter's Tools Stolen by Thieves During Night ---- A studio in the rear of the building on Richmond St. that was gutted in a three-alarm fire early Sunday morning was entered by thieves during the night. The place had been boarded up. Vincent De Vita. tenant of the studio, reported an electric saw, two carpenter's planes and a hammer were stolen. Constable Hugh Warmington found the place entered.

Thieves entered a drug store on Sherbourne St. through an unfastened side window and stole $40 worth of cigarettes, $2 in cash and a small quantity of stamps, police report. The break-in was found by Constable Douglas Grierson.

[mostlysignssomeportents]

“Humans in the loop” must detect the hardest-to-spot errors, at superhuman speed

I'm touring my new, nationally bestselling novel The Bezzle! Catch me SATURDAY (Apr 27) in MARIN COUNTY, then Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

If AI has a future (a big if), it will have to be economically viable. An industry can't spend 1,700% more on Nvidia chips than it earns indefinitely – not even with Nvidia being a principle investor in its largest customers:

https://news.ycombinator.com/item?id=39883571

A company that pays 0.36-1 cents/query for electricity and (scarce, fresh) water can't indefinitely give those queries away by the millions to people who are expected to revise those queries dozens of times before eliciting the perfect botshit rendition of "instructions for removing a grilled cheese sandwich from a VCR in the style of the King James Bible":

https://www.semianalysis.com/p/the-inference-cost-of-search-disruption

Eventually, the industry will have to uncover some mix of applications that will cover its operating costs, if only to keep the lights on in the face of investor disillusionment (this isn't optional – investor disillusionment is an inevitable part of every bubble).

Now, there are lots of low-stakes applications for AI that can run just fine on the current AI technology, despite its many – and seemingly inescapable - errors ("hallucinations"). People who use AI to generate illustrations of their D&D characters engaged in epic adventures from their previous gaming session don't care about the odd extra finger. If the chatbot powering a tourist's automatic text-to-translation-to-speech phone tool gets a few words wrong, it's still much better than the alternative of speaking slowly and loudly in your own language while making emphatic hand-gestures.

There are lots of these applications, and many of the people who benefit from them would doubtless pay something for them. The problem – from an AI company's perspective – is that these aren't just low-stakes, they're also low-value. Their users would pay something for them, but not very much.

For AI to keep its servers on through the coming trough of disillusionment, it will have to locate high-value applications, too. Economically speaking, the function of low-value applications is to soak up excess capacity and produce value at the margins after the high-value applications pay the bills. Low-value applications are a side-dish, like the coach seats on an airplane whose total operating expenses are paid by the business class passengers up front. Without the principle income from high-value applications, the servers shut down, and the low-value applications disappear:

https://locusmag.com/2023/12/commentary-cory-doctorow-what-kind-of-bubble-is-ai/

Now, there are lots of high-value applications the AI industry has identified for its products. Broadly speaking, these high-value applications share the same problem: they are all high-stakes, which means they are very sensitive to errors. Mistakes made by apps that produce code, drive cars, or identify cancerous masses on chest X-rays are extremely consequential.

Some businesses may be insensitive to those consequences. Air Canada replaced its human customer service staff with chatbots that just lied to passengers, stealing hundreds of dollars from them in the process. But the process for getting your money back after you are defrauded by Air Canada's chatbot is so onerous that only one passenger has bothered to go through it, spending ten weeks exhausting all of Air Canada's internal review mechanisms before fighting his case for weeks more at the regulator:

https://bc.ctvnews.ca/air-canada-s-chatbot-gave-a-b-c-man-the-wrong-information-now-the-airline-has-to-pay-for-the-mistake-1.6769454

There's never just one ant. If this guy was defrauded by an AC chatbot, so were hundreds or thousands of other fliers. Air Canada doesn't have to pay them back. Air Canada is tacitly asserting that, as the country's flagship carrier and near-monopolist, it is too big to fail and too big to jail, which means it's too big to care.

Air Canada shows that for some business customers, AI doesn't need to be able to do a worker's job in order to be a smart purchase: a chatbot can replace a worker, fail to their worker's job, and still save the company money on balance.

I can't predict whether the world's sociopathic monopolists are numerous and powerful enough to keep the lights on for AI companies through leases for automation systems that let them commit consequence-free free fraud by replacing workers with chatbots that serve as moral crumple-zones for furious customers:

https://www.sciencedirect.com/science/article/abs/pii/S0747563219304029

But even stipulating that this is sufficient, it's intrinsically unstable. Anything that can't go on forever eventually stops, and the mass replacement of humans with high-speed fraud software seems likely to stoke the already blazing furnace of modern antitrust:

https://www.eff.org/de/deeplinks/2021/08/party-its-1979-og-antitrust-back-baby

Of course, the AI companies have their own answer to this conundrum. A high-stakes/high-value customer can still fire workers and replace them with AI – they just need to hire fewer, cheaper workers to supervise the AI and monitor it for "hallucinations." This is called the "human in the loop" solution.

The human in the loop story has some glaring holes. From a worker's perspective, serving as the human in the loop in a scheme that cuts wage bills through AI is a nightmare – the worst possible kind of automation.

Let's pause for a little detour through automation theory here. Automation can augment a worker. We can call this a "centaur" – the worker offloads a repetitive task, or one that requires a high degree of vigilance, or (worst of all) both. They're a human head on a robot body (hence "centaur"). Think of the sensor/vision system in your car that beeps if you activate your turn-signal while a car is in your blind spot. You're in charge, but you're getting a second opinion from the robot.

Likewise, consider an AI tool that double-checks a radiologist's diagnosis of your chest X-ray and suggests a second look when its assessment doesn't match the radiologist's. Again, the human is in charge, but the robot is serving as a backstop and helpmeet, using its inexhaustible robotic vigilance to augment human skill.

That's centaurs. They're the good automation. Then there's the bad automation: the reverse-centaur, when the human is used to augment the robot.

Amazon warehouse pickers stand in one place while robotic shelving units trundle up to them at speed; then, the haptic bracelets shackled around their wrists buzz at them, directing them pick up specific items and move them to a basket, while a third automation system penalizes them for taking toilet breaks or even just walking around and shaking out their limbs to avoid a repetitive strain injury. This is a robotic head using a human body – and destroying it in the process.

An AI-assisted radiologist processes fewer chest X-rays every day, costing their employer more, on top of the cost of the AI. That's not what AI companies are selling. They're offering hospitals the power to create reverse centaurs: radiologist-assisted AIs. That's what "human in the loop" means.

This is a problem for workers, but it's also a problem for their bosses (assuming those bosses actually care about correcting AI hallucinations, rather than providing a figleaf that lets them commit fraud or kill people and shift the blame to an unpunishable AI).

Humans are good at a lot of things, but they're not good at eternal, perfect vigilance. Writing code is hard, but performing code-review (where you check someone else's code for errors) is much harder – and it gets even harder if the code you're reviewing is usually fine, because this requires that you maintain your vigilance for something that only occurs at rare and unpredictable intervals:

https://twitter.com/qntm/status/1773779967521780169

But for a coding shop to make the cost of an AI pencil out, the human in the loop needs to be able to process a lot of AI-generated code. Replacing a human with an AI doesn't produce any savings if you need to hire two more humans to take turns doing close reads of the AI's code.

This is the fatal flaw in robo-taxi schemes. The "human in the loop" who is supposed to keep the murderbot from smashing into other cars, steering into oncoming traffic, or running down pedestrians isn't a driver, they're a driving instructor. This is a much harder job than being a driver, even when the student driver you're monitoring is a human, making human mistakes at human speed. It's even harder when the student driver is a robot, making errors at computer speed:

https://pluralistic.net/2024/04/01/human-in-the-loop/#monkey-in-the-middle

This is why the doomed robo-taxi company Cruise had to deploy 1.5 skilled, high-paid human monitors to oversee each of its murderbots, while traditional taxis operate at a fraction of the cost with a single, precaratized, low-paid human driver:

https://pluralistic.net/2024/01/11/robots-stole-my-jerb/#computer-says-no

The vigilance problem is pretty fatal for the human-in-the-loop gambit, but there's another problem that is, if anything, even more fatal: the kinds of errors that AIs make.

Foundationally, AI is applied statistics. An AI company trains its AI by feeding it a lot of data about the real world. The program processes this data, looking for statistical correlations in that data, and makes a model of the world based on those correlations. A chatbot is a next-word-guessing program, and an AI "art" generator is a next-pixel-guessing program. They're drawing on billions of documents to find the most statistically likely way of finishing a sentence or a line of pixels in a bitmap:

https://dl.acm.org/doi/10.1145/3442188.3445922

This means that AI doesn't just make errors – it makes subtle errors, the kinds of errors that are the hardest for a human in the loop to spot, because they are the most statistically probable ways of being wrong. Sure, we notice the gross errors in AI output, like confidently claiming that a living human is dead:

https://www.tomsguide.com/opinion/according-to-chatgpt-im-dead

But the most common errors that AIs make are the ones we don't notice, because they're perfectly camouflaged as the truth. Think of the recurring AI programming error that inserts a call to a nonexistent library called "huggingface-cli," which is what the library would be called if developers reliably followed naming conventions. But due to a human inconsistency, the real library has a slightly different name. The fact that AIs repeatedly inserted references to the nonexistent library opened up a vulnerability – a security researcher created a (inert) malicious library with that name and tricked numerous companies into compiling it into their code because their human reviewers missed the chatbot's (statistically indistinguishable from the the truth) lie:

https://www.theregister.com/2024/03/28/ai_bots_hallucinate_software_packages/

For a driving instructor or a code reviewer overseeing a human subject, the majority of errors are comparatively easy to spot, because they're the kinds of errors that lead to inconsistent library naming – places where a human behaved erratically or irregularly. But when reality is irregular or erratic, the AI will make errors by presuming that things are statistically normal.

These are the hardest kinds of errors to spot. They couldn't be harder for a human to detect if they were specifically designed to go undetected. The human in the loop isn't just being asked to spot mistakes – they're being actively deceived. The AI isn't merely wrong, it's constructing a subtle "what's wrong with this picture"-style puzzle. Not just one such puzzle, either: millions of them, at speed, which must be solved by the human in the loop, who must remain perfectly vigilant for things that are, by definition, almost totally unnoticeable.

This is a special new torment for reverse centaurs – and a significant problem for AI companies hoping to accumulate and keep enough high-value, high-stakes customers on their books to weather the coming trough of disillusionment.

This is pretty grim, but it gets grimmer. AI companies have argued that they have a third line of business, a way to make money for their customers beyond automation's gifts to their payrolls: they claim that they can perform difficult scientific tasks at superhuman speed, producing billion-dollar insights (new materials, new drugs, new proteins) at unimaginable speed.

However, these claims – credulously amplified by the non-technical press – keep on shattering when they are tested by experts who understand the esoteric domains in which AI is said to have an unbeatable advantage. For example, Google claimed that its Deepmind AI had discovered "millions of new materials," "equivalent to nearly 800 years’ worth of knowledge," constituting "an order-of-magnitude expansion in stable materials known to humanity":

https://deepmind.google/discover/blog/millions-of-new-materials-discovered-with-deep-learning/

It was a hoax. When independent material scientists reviewed representative samples of these "new materials," they concluded that "no new materials have been discovered" and that not one of these materials was "credible, useful and novel":

https://www.404media.co/google-says-it-discovered-millions-of-new-materials-with-ai-human-researchers/

As Brian Merchant writes, AI claims are eerily similar to "smoke and mirrors" – the dazzling reality-distortion field thrown up by 17th century magic lantern technology, which millions of people ascribed wild capabilities to, thanks to the outlandish claims of the technology's promoters:

https://www.bloodinthemachine.com/p/ai-really-is-smoke-and-mirrors

The fact that we have a four-hundred-year-old name for this phenomenon, and yet we're still falling prey to it is frankly a little depressing. And, unlucky for us, it turns out that AI therapybots can't help us with this – rather, they're apt to literally convince us to kill ourselves:

https://www.vice.com/en/article/pkadgm/man-dies-by-suicide-after-talking-with-ai-chatbot-widow-says

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/2024/04/23/maximal-plausibility/#reverse-centaurs

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[allthecanadianpolitics]

Some police services in Canada are using facial recognition technology to help solve crimes, while other police forces say human rights and privacy concerns are holding them back from employing the powerful digital tools. It’s this uneven application of the technology — and the loose rules governing its use — that has legal and AI experts calling on the federal government to set national standards. “Until there’s a better handle on the risks involved with the use of this technology, there ought to be a moratorium or a range of prohibitions on how and where it can be used,” says Kristen Thomasen, law professor at the University of British Columbia. As well, the patchwork of regulations on emerging biometric technologies has created situations in which some citizens’ privacy rights are more protected than others. “I think the fact that we have different police forces taking different steps raises concerns (about) inequities and how people are treated across the country, but (it) also highlights the continuing importance of some kind of federal action to be taken,” she said.

Continue Reading

Tagging: @newsfromstolenland

[afeelgoodblog]

Best News of Last Week - July 3, 2023

🐕 - This dog is 'disc'-overing hidden treasures! Get ready for the 'paws'-itively successful fundraiser, Daisy's Discs!

1. Most unionized US rail workers now have new sick leave

More than 60% of U.S. unionized railroad workers at major railroads are now covered by new sick leave agreements, a trade group said Monday.

Last year railroads came under fire for not agreeing to paid sick leave during labor negotiations.

2. Missing teen found after being lost in the wilderness for 50 hours

Esther Wang, 16, had been hiking with three other people through the Maple Ridge park on Tuesday.

The group made it to Steve’s lookout around 2:45 p.m. that day.However, when they headed back down to the campsite, after about 15 minutes of hiking, the group leader realized Wang was missing. They returned to the lookout to look for Wang but couldn’t find her. The leader headed to the trail entrance to notify a park ranger and police.

“Esther Wang has been located. She’s healthy, she is happy and she’s with family.”

3. A dog has retrieved 155 discs from woods. They’ll be on sale soon, with proceeds going to the park in West Virginia where they were found

Meet Daisy, the yellow Labrador retriever with a unique talent for finding lost Frisbee golf discs at Grand Vue Park in West Virginia. Four years ago, while on a walk with her owner Kelly Mason, Daisy discovered a disc in the woods and proudly brought it back. Since then, Daisy's obsession with finding stray discs has grown, and she has collected an impressive cache of 155 discs.

Mason and park officials have now come up with a plan to return the discs to their owners if they are labeled, and any unclaimed discs will be sold as a fundraiser to support the park's disc golf courses. Daisy's Discs is expected to be a success, with many excited about the possibility of recovering their lost discs thanks to Daisy's remarkable skills.

4. Australian earless dragon last seen in 1969 rediscovered in secret location

A tiny earless dragon feared to be extinct in the wild has been sighted for the first time in more than 50 years – at a location that is being kept secret to help preservation efforts.

The Victorian grassland earless dragon, Tympanocryptis pinguicolla, has now been rediscovered in the state, according to a joint statement issued by the Victorian and federal Labor governments on Sunday.

5. Detroit is going to power 100% of its municipal buildings with solar

All of Detroit’s municipal buildings are going to be powered by neighborhood solar as part of the city’s efforts to combat climate change – check out the city’s cool grassroots plan. Meet Detroit Rock Solar City.

The city has determined that it’s going to need around 250 acres of solar panels in order to achieve 100% solar power for its municipal buildings.

6. Canada Officially Bans Cosmetic Testing on Animals

The fight for cruelty-free beauty in Canada has seen a significant breakthrough as the Canadian government legislates a full ban on cosmetic animal testing and trade, marking a victory for Animal rights advocates and eco-conscious consumers.

This landmark decision is part of the Budget Implementation Act (Bill C-47), not only prohibiting cosmetic animal testing but also putting an end to the sale of cosmetics that use new animal testing data for safety substantiation.

7. Belize certified malaria-free by WHO

The World Health Organization (WHO) has certified Belize as malaria-free, following the country’s over 70 years of continued efforts to stamp out the disease.

“WHO congratulates the people and government of Belize and their network of global and local partners for this achievement”, said Dr Tedros Adhanom Ghebreyesus, WHO Director-General. “Belize is another example of how, with the right tools and the right approach, we can dream of a malaria-free future.”

----

That's it for this week :)

This newsletter will always be free. If you liked this post you can support me with a small kofi donation:

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Also don’t forget to reblog.

[aquilaofarkham]

Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

—

WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

—

HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely. 

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil. 

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

—

SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia. 

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly  grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what’s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should. 

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles. 

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

—

THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family. 

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return. 

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

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SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont. 

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now. 

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

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MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)

[whencyclopedia]

The Native Peoples of North America (also known as American Indians, Native Americans, Indigenous Americans, and First Americans) are the original inhabitants of North America believed to have migrated into the region between 40,000-14,000 years ago, developing into separate nations with distinct and sophisticated cultures. These autonomous nations spread from Alaska, through Canada, and the lower United States. The earliest periods of migration, settlement, and development are defined by archaeological evidence (spearheads, tools, monumental structures) from sites throughout North America and are most often referred to by the following terms: Paleoindian-Clovis Culture – c. 40,000 to c. 14,000 BCE Dalton-Folsom Culture – c. 8500-7900 BCE Archaic Period – c. 8000-1000 BCE Woodland Period – c. 500 BCE to c. 1100 CE Mississippian Culture – c. 1100-1540 CE During the Archaic Period, some Native populations moved from a hunter-gatherer paradigm to a more sedentary social model as evidenced by sites such as Watson Brake (c. 3500 BCE), Poverty Point (c. 1700-1100 BCE), and others of varying size, developed throughout the region during the Woodland and Mississippian Culture eras. The cultures that developed in and around these sites were distinct from one another but shared a worldview that included belief in a higher power and disembodied spirits, the value of community over individual needs, reciprocity in interaction with the environment and each other, the importance of ritual and tradition, the practice of warfare and slavery, and conservation of resources. Women were highly respected in the communities and frequently served as leaders or advisers in government. These separate communities developed into what are sometimes called 'tribes' (but more often referred to now as 'nations') at some point prior to c. 980 to c. 1030 CE when the first European settlement was established in North America by Leif Erikson at L'Anse aux Meadows, Newfoundland. By the time of the beginning of European colonization of the Americas in the 15th century CE, they were highly developed political and social entities associated with a specific region and a certain territory within that region. Although European expansion across Canada and the United States eventually deprived the indigenous peoples of their ancient lands, the nations still exist today and the image of the 'vanished Indian' is as much of a myth as the 'noble savage' or similar tropes developed by European and American scholars during the 19th and early 20th centuries.

[apollos-olives]

Strongly agree that Israel also doesn't really care abt its civilians either. I was born in Israel and my family moved to Canada when I was a kid, with (at least one of the reasons) being so that my siblings and I wouldn't have to serve in the IDF. Come my 18th birthday I had to apply for military service deferral, and found out that there is no option for permanent deferral. It's conditional, the condition being that if you spend more than 6 calendar months in Israel again, you will be forced to serve. Alongside this, anyone who refuses to serve is jailed. Israel does not care. They despise Palestinians, and they do not even care for their civilians. Their civilians are but disposable tools in their genocidal quest. Anyone who thinks that Israel is committing these atrocities in order to protect its own people, is an idiot. Because it is a lie. Israel is bullshit, death to the tyrannical genocidal government. Freedom to Palestine. Keep being loud, keep talking. I hear you, I see you, and all the power to you.

anon this entire message was a huge wave of relief. FINALLY. someone is listening. someone understands.

israel does not give a shit about it's citizens. it will bomb and kill whoever gets in their way, and then blame the palestinians for it, to try to excuse it. that's why israel systematically puts israeli settlements with "civilians" (no settler is technically a civilian bc as you said above, they all are forced to serve in the military. the only innocent people are the children and anything that happens to a child is entirely on the parents for bringing their child to "israel" in the first place and illegally settling there) right next to the palestinians. if anything happens, israelis are the first ones to get hurt, and therefore israel has another excuse to kill more palestinians while disregarding and killing their own citizens along the way. it's genuinely disgusting, horrifying, and anyone who doesn't understand this at this point is so ignorant of what's going on right now.

i'm glad you're refusing to serve for israel. we need more israelis to start refusing, even if it means jail. this puts extreme pressure on it's citizens and it's an honestly disgusting tactic in order to further oppress palestinians AND zionist-critical israelis.

to add on also, israel only gives a shit about white ppl too. they claim to be a safe nation for all jews but they actively persecute arab jews and black and brown jews. there is SO much proof of this happening too. and it's genuinely so sickening the way israel's propaganda plays such a big part in how the whole world views this genocide, apartheid, and occupation.

i'm glad you're standing with palestine. it must be hard to, considering you were directly born in israel, and a lot of pressure must be put on you right now. but when the smoke clears and the dust settles, palestine will be free. from the river to the sea 🇵🇸

[squaareshardware]

Shop Squares Hardware for the best power tools available in Canada.

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[pumpkincurryelote]

As women it's incredibly important that we develop a number of practical skills, chiefly among them being construction. The cost of homes/rentals is skyrocketing and unlikely to come down. If you do not wish to be snared in a capitalist misery grind for the rest of your lives, you need to band together with other women to acquire unrestricted land. Climate change dictates that land be high north (touching Canada's ass or Alaska).

This lady and her husband both have YouTube channels that you can learn from. Even if you don't have the means to begin assembling resources as yet, you can still familiarize yourself with basic concepts. You'll need a range of power tools and batteries for said tools. I recommend pawn shops. Manual tools as well, up to and including a bow saw. If you purchase a kit, then you don't have to do the measuring/cutting yourself. Just lay the foundation and assemble/insulate/plumb/wire (I recommend that your pipes and wiring by VISIBLE or EASY TO ACCESS.) Composting toilets and greywater reed beds are preferable for permacultural purposes. Bathroom, kitchen, and laundry must be near each other because they involve water and you do not want water damage nuking your structural integrity. In fact, a shared space for bathroom/laundry and high volume cooking is wise, preferably built with materials water won't destroy such as brick or stone. Slap twin wall polycarbonate roofing on that bad boy and the space doubles as your greenhouse.

Kits from this maker ship free to any business address with a forklift. The uninsulated shell kits are cheapest. A natural insulation such as wool is best. But insulation can be anything. If all else fails, extra high lofted barns from Home Depot/Lowe's do just fine converted into homes. Shipping containers are fine too, but will require cutting you may not be comfortable with.

Just some food for thought. Get the creative juices flowing. Sometimes you just have get out there and figure shit out.

[jcmarchi]

Shadi Rostami, SVP of Engineering at Amplitude – Interview Series

New Post has been published on https://thedigitalinsider.com/shadi-rostami-svp-of-engineering-at-amplitude-interview-series/

Shadi Rostami, SVP of Engineering at Amplitude – Interview Series

Shadi is SVP of Engineering at digital analytics leader Amplitude. She is a passionate, seasoned technology leader and architect experienced in building and managing highly proficient engineering teams. Prior to Amplitude, she was VP of Engineering at Palo Alto Networks. She has innovated and delivered several product lines and services specializing in distributed systems, cloud computing, big data, machine learning and security.

Amplitude is built on modern machine learning and generative AI technologies that enable product teams to build smarter, learn faster, and create the best digital experiences for their customers.

What initially attracted you to computer science and engineering?

I grew up in Iran and originally pursued a high school path that would enable a career in medicine, which was the path my father wanted me to take and the one my brother did. About a year and a half in, I decided it was not the path for me. Instead, I pursued engineering and ended up becoming the first girl in Iran to go to the Informatic Olympiad (IOI) and won the Bronze medal, a yearly competition for high school students around the world competing in math, physics, Informatics, and chemistry. That led me to pursue engineering at Sharif University of Technology in Iran and later get my Ph.D. in computer engineering at the University of British Columbia in Canada. After that, I worked for startups for a few years and then spent a decade at Palo Alto Networks, eventually becoming a VP responsible for development, QA, DevOps, and data science. Five years ago, I moved to Amplitude as the SVP of Engineering.

Could you discuss Amplitude’s core AI philosophy that AI should aid humans in improving their work rather than replacing them?

AI is quickly transforming almost every industry, and with the transformation comes questions about how companies will use the technology. We feel strongly about getting AI right. This belief led us to develop our customer-centric AI philosophy, which stands upon five main principles: (1) collaborative development and thought partnership, (2) data governance and user data protection, (3) transparency, (4) privacy, security, and regulatory compliance, and (5) customer choice and control. We know these principles are key as companies continue to adopt and test AI and eventually become truly data-driven. For our purposes, this means building AI tools that help people get to insights faster. When harnessed properly, these insights lead to faster, better decisions that drive bottom-line results. Using AI as a tool to complement human intelligence and creativity is where I see AI having its greatest impact.

Can you explain the concept of ‘data democracy’ in the context of today’s AI-driven business environment?

“Data democracy is driven by the knowledge that teams function better, faster, and more efficiently when they can access the right data insights at the right time. In today’s rapidly advancing AI-driven environment, teams can’t afford to wait days or weeks for data pulls. To mitigate this, companies must empower their teams to leverage data in a self-service way. Now, this doesn’t mean data chaos with no parameters. At the end of the day, bad data leads to bad AI. But with the right tools and processes in place, businesses can balance data democratization with data governance, enabling better business outcomes.”

What key shifts in organizational culture do you believe are essential for enabling true data democracy in the age of AI?

Establishing a true data democracy within your organization starts with two foundational culture shifts: providing the right, most accessible tools and conducting organization-wide efforts around data literacy. This means adopting self-service tools that allow non-technical team members, such as marketing or customer success teams, to not only access data but also analyze and take action on it. I believe self-service data analytics can and should fuel collaboration across teams, inspire curiosity and exploration, scale data literacy, and place a bias on action and impact.  Also, it is important to spend joint efforts between the central data team and line of business teams to do continuous data governance to make sure data quality does not degrade over time.

In your experience, what are the most significant challenges organizations face in achieving data democratization, and how can they overcome these obstacles?

In the past, companies have tried to centralize data within one team of experts, leaving the rest of the organization reliant on this team to deliver analysis and key insights that may be critical to their day-to-day operations and decision-making. While democratizing data access is critical to solving this bottleneck, it can also be challenging. When I speak to data leaders about operationalizing self-service, it’s clear there is a spectrum. On one end, you have low setup tools for non-technical and line-of-business teams. Ultimately, these tools do not give the depth and breadth of answers that these teams need. On the other end, you have more technical tools for more technical teams. They are much more flexible in terms of analysis, but they are slow, and likely very few people can even use them. We refer to these tools as creating a “data breadline” … you’re always waiting for answers. Teams need a solution in the middle. Think out-of-the-box solutions that encourage, not inhibit, exploration and experimentation. With the proper tooling and team education, companies can more easily bridge the data democratization gap.

How crucial is data literacy in the process of data democratization, and what steps should companies take to improve it among their employees?

Fostering an environment of data democratization across your teams is a cultural challenge that requires education and company-wide buy-in. In my experiences with teaching data processes to non-technical members, the best way to develop these skills is through a combination of training and hands-on learning. I recommend developing a comprehensive training program to ensure employees feel comfortable and confident in the insights they’re pulling from their data. Make sure you are using a tool that does not prohibit non-technical users: for example, any tool that requires knowledge of SQL would marginalize folks without programming expertise. From there, provide opportunities for employees to dive in and start playing around with the data. Finally, implement a tool that fosters exploration and collaboration. The less people are working in silos, the more they can bounce ideas off of each other, leading to more illuminating insights. If you are a data professional teaching a non-technical team member, remember that you have spent years learning how to obtain and use data, so you think about it differently from the casual user. Be open to teaching others rather than doing everything yourself. Otherwise, you’ll never have any free time to do anything aside from answering people’s questions.

With the rapid evolution of data tools and generative AI technologies, how should companies adapt their strategies to stay ahead in data management and utilization?

Data governance is one of the main challenges companies still face, and it’s something every organization must nail down to empower meaningful AI and data experiences. AI is only as good as the data that powers it, and clean data leads to more impactful insights, happier users, and business growth. In this way, companies must be proactive about data cleanup and taxonomy, and there are opportunities to use generative AI to manage your AI governance and quality. For example, at Amplitude, we launched our AI-powered Data Assistant product last year, which offers intelligent recommendations and automation to make data governance seamless and help users take charge of data quality efforts.

How does Amplitude enable enterprises to better understand the customer journey?

Building great digital products and experiences is hard, especially in today’s competitive landscape. Today, many companies still don’t know who they’re building for or what their customers want. Amplitude helps businesses answer questions like, “What do our customers love? Where do they get stuck? What keeps them coming back?” through quantitative and qualitative data insights. Our platform helps businesses better understand the end-to-end customer journey by surfacing data to help drive the customer acquisition, monetization, and retention cycle. Today, more than 2,700 customers, including enterprise brands like Atlassian, NBC Universal, and Under Armour, leverage Amplitude to build better products.

Thank you for the great interview, readers who wish to learn more should visit Amplitude. 

[mostlysignssomeportents]

How to shatter the class solidarity of the ruling class

I'm touring my new, nationally bestselling novel The Bezzle! Catch me WEDNESDAY (Apr 11) at UCLA, then Chicago (Apr 17), Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

Audre Lorde counsels us that "The Master's Tools Will Never Dismantle the Master's House," while MLK said "the law cannot make a man love me, but it can restrain him from lynching me." Somewhere between replacing the system and using the system lies a pragmatic – if easily derailed – course.

Lorde is telling us that a rotten system can't be redeemed by using its own chosen reform mechanisms. King's telling us that unless we live, we can't fight – so anything within the system that makes it easier for your comrades to fight on can hasten the end of the system.

Take the problems of journalism. One old model of journalism funding involved wealthy newspaper families profiting handsomely by selling local appliance store owners the right to reach the townspeople who wanted to read sports-scores. These families expressed their patrician love of their town by peeling off some of those profits to pay reporters to sit through municipal council meetings or even travel overseas and get shot at.

In retrospect, this wasn't ever going to be a stable arrangement. It relied on both the inconstant generosity of newspaper barons and the absence of a superior way to show washing-machine ads to people who might want to buy washing machines. Neither of these were good long-term bets. Not only were newspaper barons easily distracted from their sense of patrician duty (especially when their own power was called into question), but there were lots of better ways to connect buyers and sellers lurking in potentia.

All of this was grossly exacerbated by tech monopolies. Tech barons aren't smarter or more evil than newspaper barons, but they have better tools, and so now they take 51 cents out of every ad dollar and 30 cents out of ever subscriber dollar and they refuse to deliver the news to users who explicitly requested it, unless the news company pays them a bribe to "boost" their posts:

https://www.eff.org/deeplinks/2023/04/saving-news-big-tech

The news is important, and people sign up to make, digest, and discuss the news for many non-economic reasons, which means that the news continues to struggle along, despite all the economic impediments and the vulture capitalists and tech monopolists who fight one another for which one will get to take the biggest bite out of the press. We've got outstanding nonprofit news outlets like Propublica, journalist-owned outlets like 404 Media, and crowdfunded reporters like Molly White (and winner-take-all outlets like the New York Times).

But as Hamilton Nolan points out, "that pot of money…is only large enough to produce a small fraction of the journalism that was being produced in past generations":

https://www.hamiltonnolan.com/p/what-will-replace-advertising-revenue

For Nolan, "public funding of journalism is the only way to fix this…If we accept that journalism is not just a business or a form of entertainment but a public good, then funding it with public money makes perfect sense":

https://www.hamiltonnolan.com/p/public-funding-of-journalism-is-the

Having grown up in Canada – under the CBC – and then lived for a quarter of my life in the UK – under the BBC – I am very enthusiastic about Nolan's solution. There are obvious problems with publicly funded journalism, like the politicization of news coverage:

https://www.theguardian.com/media/2023/jan/24/panel-approving-richard-sharp-as-bbc-chair-included-tory-party-donor

And the transformation of the funding into a cheap political football:

https://www.cbc.ca/news/politics/poilievre-defund-cbc-change-law-1.6810434

But the worst version of those problems is still better than the best version of the private-equity-funded model of news production.

But Nolan notes the emergence of a new form of hedge fund news, one that is awfully promising, and also terribly fraught: Hunterbrook Media, an investigative news outlet owned by short-sellers who pay journalists to research and publish damning reports on companies they hold a short position on:

https://hntrbrk.com/

For those of you who are blissfully distant from the machinations of the financial markets, "short selling" is a wager that a company's stock price will go down. A gambler who takes a short position on a company's stock can make a lot of money if the company stumbles or fails altogether (but if the company does well, the short can suffer literally unlimited losses).

Shorts have historically paid analysts to dig into companies and uncover the sins hidden on their balance-sheets, but as Matt Levine points out, journalists work for a fraction of the price of analysts and are at least as good at uncovering dirt as MBAs are:

https://www.bloomberg.com/opinion/articles/2024-04-02/a-hedge-fund-that-s-also-a-newspaper

What's more, shorts who discover dirt on a company still need to convince journalists to publicize their findings and trigger the sell-off that makes their short position pay off. Shorts who own a muckraking journalistic operation can skip this step: they are the journalists.

There's a way in which this is sheer genius. Well-funded shorts who don't care about the news per se can still be motivated into funding freely available, high-quality investigative journalism about corporate malfeasance (notoriously, one of the least attractive forms of journalism for advertisers). They can pay journalists top dollar – even bid against each other for the most talented journalists – and supply them with all the tools they need to ply their trade. A short won't ever try the kind of bullshit the owners of Vice pulled, paying themselves millions while their journalists lose access to Lexisnexis or the PACER database:

https://pluralistic.net/2024/02/24/anti-posse/#when-you-absolutely-positively-dont-give-a-solitary-single-fuck

The shorts whose journalists are best equipped stand to make the most money. What's not to like?

Well, the issue here is whether the ruling class's sense of solidarity is stronger than its greed. The wealthy have historically oscillated between real solidarity (think of the ultrawealthy lobbying to support bipartisan votes for tax cuts and bailouts) and "war of all against all" (as when wealthy colonizers dragged their countries into WWI after the supply of countries to steal ran out).

After all, the reason companies engage in the scams that shorts reveal is that they are profitable. "Behind every great fortune is a great crime," and that's just great. You don't win the game when you get into heaven, you win it when you get into the Forbes Rich List.

Take monopolies: investors like the upside of backing an upstart company that gobbles up some staid industry's margins – Amazon vs publishing, say, or Uber vs taxis. But while there's a lot of upside in that move, there's also a lot of risk: most companies that set out to "disrupt" an industry sink, taking their investors' capital down with them.

Contrast that with monopolies: backing a company that merges with its rivals and buys every small company that might someday grow large is a sure thing. Shriven of "wasteful competition," a company can lower quality, raise prices, capture its regulators, screw its workers and suppliers and laugh all the way to Davos. A big enough company can ignore the complaints of those workers, customers and regulators. They're not just too big to fail. They're not just too big to jail. They're too big to care:

https://pluralistic.net/2024/04/04/teach-me-how-to-shruggie/#kagi

Would-be monopolists are stuck in a high-stakes Prisoner's Dilemma. If they cooperate, they can screw over everyone else and get unimaginably rich. But if one party defects, they can raid the monopolist's margins, short its stock, and snitch to its regulators.

It's true that there's a clear incentive for hedge-fund managers to fund investigative journalism into other hedge-fund managers' portfolio companies. But it would be even more profitable for both of those hedgies to join forces and collude to screw the rest of us over. So long as they mistrust each other, we might see some benefit from that adversarial relationship. But the point of the 0.1% is that there aren't very many of them. The Aspen Institute can rent a hall that will hold an appreciable fraction of that crowd. They buy their private jets and bespoke suits and powdered rhino horn from the same exclusive sellers. Their kids go to the same elite schools. They know each other, and they have every opportunity to get drunk together at a charity ball or a society wedding and cook up a plan to join forces.

This is the problem at the core of "mechanism design" grounded in "rational self-interest." If you try to create a system where people do the right thing because they're selfish assholes, you normalize being a selfish asshole. Eventually, the selfish assholes form a cozy little League of Selfish Assholes and turn on the rest of us.

Appeals to morality don't work on unethical people, but appeals to immorality crowds out ethics. Take the ancient split between "free software" (software that is designed to maximize the freedom of the people who use it) and "open source software" (identical to free software, but promoted as a better way to make robust code through transparency and peer review).

Over the years, open source – an appeal to your own selfish need for better code – triumphed over free software, and its appeal to the ethics of a world of "software freedom." But it turns out that while the difference between "open" and "free" was once mere semantics, it's fully possible to decouple the two. Today, we have lots of "open source": you can see the code that Google, Microsoft, Apple and Facebook uses, and even contribute your labor to it for free. But you can't actually decide how the software you write works, because it all takes a loop through Google, Microsoft, Apple or Facebook's servers, and only those trillion-dollar tech monopolists have the software freedom to determine how those servers work:

https://pluralistic.net/2020/05/04/which-side-are-you-on/#tivoization-and-beyond

That's ruling class solidarity. The Big Tech firms have hidden a myriad of sins beneath their bafflegab and balance-sheets. These (as yet) undiscovered scams constitute a "bezzle," which JK Galbraith defined as "the magic interval when a confidence trickster knows he has the money he has appropriated but the victim does not yet understand that he has lost it."

The purpose of Hunterbrook is to discover and destroy bezzles, hastening the moment of realization that the wealth we all feel in a world of seemingly orderly technology is really an illusion. Hunterbrook certainly has its pick of bezzles to choose from, because we are living in a Golden Age of the Bezzle.

Which is why I titled my new novel The Bezzle. It's a tale of high-tech finance scams, starring my two-fisted forensic accountant Marty Hench, and in this volume, Hench is called upon to unwind a predatory prison-tech scam that victimizes the most vulnerable people in America – our army of prisoners – and their families:

https://us.macmillan.com/books/9781250865878/thebezzle

The scheme I fictionalize in The Bezzle is very real. Prison-tech monopolists like Securus and Viapath bribe prison officials to abolish calls, in-person visits, mail and parcels, then they supply prisoners with "free" tablets where they pay hugely inflated rates to receive mail, speak to their families, and access ebooks, distance education and other electronic media:

https://pluralistic.net/2024/04/02/captive-customers/#guillotine-watch

But a group of activists have cornered these high-tech predators, run them to ground and driven them to the brink of extinction, and they've done it using "the master's tools" – with appeals to regulators and the finance sector itself.

Writing for The Appeal, Dana Floberg and Morgan Duckett describe the campaign they waged with Worth Rises to bankrupt the prison-tech sector:

https://theappeal.org/securus-bankruptcy-prison-telecom-industry/

Here's the headline figure: Securus is $1.8 billion in debt, and it has eight months to find a financier or it will go bust. What's more, all the creditors it might reasonably approach have rejected its overtures, and its bonds have been downrated to junk status. It's a dead duck.

Even better is how this happened. Securus's debt problems started with its acquisition, a leveraged buyout by Platinum Equity, who borrowed heavily against the firm and then looted it with bogus "management fees" that meant that the debt continued to grow, despite Securus's $700m in annual revenue from America's prisoners. Platinum was just the last in a long line of PE companies that loaded up Securus with debt and merged it with its competitors, who were also mortgaged to make profits for other private equity funds.

For years, Securus and Platinum were able to service their debt and roll it over when it came due. But after Worth Rises got NYC to pass a law making jail calls free, creditors started to back away from Securus. It's one thing for Securus to charge $18 for a local call from a prison when it's splitting the money with the city jail system. But when that $18 needs to be paid by the city, they're going to demand much lower prices. To make things worse for Securus, prison reformers got similar laws passed in San Francisco and in Connecticut.

Securus tried to outrun its problems by gobbling up one of its major rivals, Icsolutions, but Worth Rises and its coalition convinced regulators at the FCC to block the merger. Securus abandoned the deal:

https://worthrises.org/blogpost/securusmerger

Then, Worth Rises targeted Platinum Equity, going after the pension funds and other investors whose capital Platinum used to keep Securus going. The massive negative press campaign led to eight-figure disinvestments:

https://www.latimes.com/business/story/2019-09-05/la-fi-tom-gores-securus-prison-phone-mass-incarceration

Now, Securus's debt became "distressed," trading at $0.47 on the dollar. A brief, covid-fueled reprieve gave Securus a temporary lifeline, as prisoners' families were barred from in-person visits and had to pay Securus's rates to talk to their incarcerated loved ones. But after lockdown, Securus's troubles picked up right where they left off.

They targeted Platinum's founder, Tom Gores, who papered over his bloody fortune by styling himself as a philanthropist and sports-team owner. After a campaign by Worth Rises and Color of Change, Gores was kicked off the Los Angeles County Museum of Art board. When Gores tried to flip Securus to a SPAC – the same scam Trump pulled with Truth Social – the negative publicity about Securus's unsound morals and financials killed the deal:

https://twitter.com/WorthRises/status/1578034977828384769

Meanwhile, more states and cities are making prisoners' communications free, further worsening Securus's finances:

https://pluralistic.net/2024/02/14/minnesota-nice/#shitty-technology-adoption-curve

Congress passed the Martha Wright-Reed Just and Reasonable Communications Act, giving the FCC the power to regulate the price of federal prisoners' communications. Securus's debt prices tumbled further:

https://www.govtrack.us/congress/bills/117/s1541

Securus's debts were coming due: it owes $1.3b in 2024, and hundreds of millions more in 2025. Platinum has promised a $400m cash infusion, but that didn't sway S&P Global, a bond-rating agency that re-rated Securus's bonds as "CCC" (compare with "AAA"). Moody's concurred. Now, Securus is stuck selling junk-bonds:

https://www.govtrack.us/congress/bills/117/s1541

The company's creditors have given Securus an eight-month runway to find a new lender before they force it into bankruptcy. The company's debt is trading at $0.08 on the dollar.

Securus's major competitor is Viapath (prison tech is a duopoly). Viapath is also debt-burdened and desperate, thanks to a parallel campaign by Worth Rises, and has tried all of Securus's tricks, and failed:

https://pestakeholder.org/news/american-securities-fails-to-sell-prison-telecom-company-viapath/

Viapath's debts are due next year, and if Securus tanks, no one in their right mind will give Viapath a dime. They're the walking dead.

Worth Rise's brilliant guerrilla warfare against prison-tech and its private equity backers are a master class in using the master's tools to dismantle the master's house. The finance sector isn't a friend of justice or working people, but sometimes it can be used tactically against financialization itself. To paraphrase MLK, "finance can't make a corporation love you, but it can stop a corporation from destroying you."

Yes, the ruling class finds solidarity at the most unexpected moments, and yes, it's easy for appeals to greed to institutionalize greediness. But whether it's funding unbezzling journalism through short selling, or freeing prisons by brandishing their cooked balance-sheets in the faces of bond-rating agencies, there's a lot of good we can do on the way to dismantling the system.

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/2024/04/08/money-talks/#bullshit-walks

Image: KMJ (modified) https://commons.wikimedia.org/wiki/File:Boerse_01_KMJ.jpg

CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/deed.en

[blogdays]

Fastdtftransfer - Devasa+ (2)

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[sixstringphonic]

‘The Godfather of A.I.’ Leaves Google and Warns of Danger Ahead

(Reported by Cade Metz, The New York Times)

Geoffrey Hinton was an artificial intelligence pioneer. In 2012, Dr. Hinton and two of his graduate students at the University of Toronto created technology that became the intellectual foundation for the A.I. systems that the tech industry’s biggest companies believe is a key to their future.

On Monday, however, he officially joined a growing chorus of critics who say those companies are racing toward danger with their aggressive campaign to create products based on generative artificial intelligence, the technology that powers popular chatbots like ChatGPT.

Dr. Hinton said he has quit his job at Google, where he has worked for more than a decade and became one of the most respected voices in the field, so he can freely speak out about the risks of A.I. A part of him, he said, now regrets his life’s work.

“I console myself with the normal excuse: If I hadn’t done it, somebody else would have,” Dr. Hinton said during a lengthy interview last week in the dining room of his home in Toronto, a short walk from where he and his students made their breakthrough.

Dr. Hinton’s journey from A.I. groundbreaker to doomsayer marks a remarkable moment for the technology industry at perhaps its most important inflection point in decades. Industry leaders believe the new A.I. systems could be as important as the introduction of the web browser in the early 1990s and could lead to breakthroughs in areas ranging from drug research to education.

But gnawing at many industry insiders is a fear that they are releasing something dangerous into the wild. Generative A.I. can already be a tool for misinformation. Soon, it could be a risk to jobs. Somewhere down the line, tech’s biggest worriers say, it could be a risk to humanity.

“It is hard to see how you can prevent the bad actors from using it for bad things,” Dr. Hinton said.

After the San Francisco start-up OpenAI released a new version of ChatGPT in March, more than 1,000 technology leaders and researchers signed an open letter calling for a six-month moratorium on the development of new systems because A.I. technologies pose “profound risks to society and humanity.”

Several days later, 19 current and former leaders of the Association for the Advancement of Artificial Intelligence, a 40-year-old academic society, released their own letter warning of the risks of A.I. That group included Eric Horvitz, chief scientific officer at Microsoft, which has deployed OpenAI’s technology across a wide range of products, including its Bing search engine.

Dr. Hinton, often called “the Godfather of A.I.,” did not sign either of those letters and said he did not want to publicly criticize Google or other companies until he had quit his job. He notified the company last month that he was resigning, and on Thursday, he talked by phone with Sundar Pichai, the chief executive of Google’s parent company, Alphabet. He declined to publicly discuss the details of his conversation with Mr. Pichai.

Google’s chief scientist, Jeff Dean, said in a statement: “We remain committed to a responsible approach to A.I. We’re continually learning to understand emerging risks while also innovating boldly.”

Dr. Hinton, a 75-year-old British expatriate, is a lifelong academic whose career was driven by his personal convictions about the development and use of A.I. In 1972, as a graduate student at the University of Edinburgh, Dr. Hinton embraced an idea called a neural network. A neural network is a mathematical system that learns skills by analyzing data. At the time, few researchers believed in the idea. But it became his life’s work.

In the 1980s, Dr. Hinton was a professor of computer science at Carnegie Mellon University, but left the university for Canada because he said he was reluctant to take Pentagon funding. At the time, most A.I. research in the United States was funded by the Defense Department. Dr. Hinton is deeply opposed to the use of artificial intelligence on the battlefield — what he calls “robot soldiers.”

As companies improve their A.I. systems, he believes, they become increasingly dangerous. “Look at how it was five years ago and how it is now,” he said of A.I. technology. “Take the difference and propagate it forwards. That’s scary.”

Until last year, he said, Google acted as a “proper steward” for the technology, careful not to release something that might cause harm. But now that Microsoft has augmented its Bing search engine with a chatbot — challenging Google’s core business — Google is racing to deploy the same kind of technology. The tech giants are locked in a competition that might be impossible to stop, Dr. Hinton said.

His immediate concern is that the internet will be flooded with false photos, videos and text, and the average person will “not be able to know what is true anymore.”

He is also worried that A.I. technologies will in time upend the job market. Today, chatbots like ChatGPT tend to complement human workers, but they could replace paralegals, personal assistants, translators and others who handle rote tasks. “It takes away the drudge work,” he said. “It might take away more than that.”

But that may be impossible, he said. Unlike with nuclear weapons, he said, there is no way of knowing whether companies or countries are working on the technology in secret. The best hope is for the world’s leading scientists to collaborate on ways of controlling the technology. “I don’t think they should scale this up more until they have understood whether they can control it,” he said.

Dr. Hinton said that when people used to ask him how he could work on technology that was potentially dangerous, he would paraphrase Robert Oppenheimer, who led the U.S. effort to build the atomic bomb: “When you see something that is technically sweet, you go ahead and do it.”

He does not say that anymore.

(Reported by Cade Metz, The New York Times)