Skip to main content

Home/ Dystopias/ Group items tagged modernity

Rss Feed Group items tagged

Ed Webb

Augmented Reality | Adbusters Culturejammer Headquarters - 0 views

  •  
    Is modern life rubbish?
Ed Webb

The Imaginative Reality of Ursula K. Le Guin | VQR Online - 1 views

  • The founders of this anarchist society made up a new language because they realized you couldn’t have a new society and an old language. They based the new language on the old one but changed it enormously. It’s simply an illustration of what Orwell was saying in his great essay about how writing English clearly is a political matter.
    • Ed Webb
       
      Le Guin, of course, admires "Politics and the English Language." Real-world examples of people changing languages to change society include the invention of modern Turkish and modern Hebrew.
  • There are advantages and disadvantages to living a very long time, as I have. One of the advantages is that you can’t help having a long view. You’ve seen it come and seen it go. Something that’s being announced as the absolute only way to write, you recognize as a fashion, a fad, trendy—the way to write right now if you want to sell right now to a right now editor. But there’s also the long run to consider. Nothing’s deader than last year’s trend. 
  • Obviously, the present tense has certain uses that it’s wonderfully suited for. But recently it has been adopted blindly, as the only way to tell a story—often by young writers who haven’t read very much. Well, it’s a good way to tell some stories, not a good way to tell others. It’s inherently limiting. I call it “flashlight focus.” You see a spot ahead of you and it is dark all around it. That’s great for high suspense, high drama, cut-to-the-chase writing. But if you want to tell a big, long story, like the books of Elena Ferrante, or Jane Smiley’s The Last Hundred Years trilogy, which moves year by year from 1920 to 2020—the present tense would cripple those books. To assume that the present tense is literally “now” and the past tense literally remote in time is extremely naïve. 
  • ...9 more annotations...
  • Henry James did the limited third person really well, showing us the way to do it. He milked that cow successfully. And it’s a great cow, it still gives lots of milk. But if you read only contemporary stuff, always third-person limited, you don’t realize that point of view in a story is very important and can be very movable. It’s here where I suggest that people read books like Woolf’s To the Lighthouse to see what she does by moving from mind to mind. Or Tolstoy’s War and Peace for goodness’ sake. Wow. The way he slides from one point of view to another without you knowing that you’ve changed point of view—he does it so gracefully. You know where you are, whose eyes you are seeing through, but you don’t have the sense of being jerked from place to place. That’s mastery of a craft.
  • Any of us who grew up reading eighteenth- or nineteenth-century fiction are perfectly at home with what is called “omniscience.” I myself call it “authorial” point of view because the term “omnisicence,” the idea of an author being omniscient, is so often used in a judgmental way, as if it were a bad thing. But the author, after all, is the author of all these characters, the maker, the inventor of them. In fact all the characters are the author if you come right down to the honest truth of it. So the author has the perfect right to know what they’re thinking. If the author doesn’t tell you what they are thinking … why? This is worth thinking about. Often it’s simply to spin out suspense by not telling you what the author knows. Well, that’s legitimate. This is art. But I’m trying to get people to think about their choices here, because there are so many beautiful choices that are going unused. In a way, first person and limited third are the easiest ones, the least interesting. 
  • to preach that story is conflict, always to ask, “Where’s the conflict in your story?”—this needs some thinking about. If you say that story is about conflict, that plot must be based on conflict, you’re limiting your view of the world severely. And in a sense making a political statement: that life is conflict, so in stories conflict is all that really matters. This is simply untrue. To see life as a battle is a narrow, social-Darwinist view, and a very masculine one. Conflict, of course, is part of life, I’m not saying you should try to keep it out of your stories, just that it’s not their only lifeblood. Stories are about a lot of different things
  • The first decade of her career, beginning in the sixties, included some of her most well-known works of fiction: A Wizard of Earthsea, The Left Hand of Darkness, The Dispossessed, and The Lathe of Heaven. Each of these works imagined not just worlds, but homes, homes that became real for her readers, homes where protagonists were women, people of color, gender fluid, anticapitalist—imaginary homes that did not simply spin out our worst dystopic fears for the future like so many of the apocalyptic novels of today, but also modeled other ways of being, other ways to create home.
  • “Children know perfectly well that unicorns aren’t real,” Le Guin once said. “But they also know that books about unicorns, if they are good books, are true books.”
  • “Fake rules” and “alternative facts” are used in our time not to increase moral understanding and social possibility but to increase power for those who already have it. A war on language has unhinged words from their meaning, language from its capacity as truth-teller. But perhaps, counterintuitively, it is in the realm of the imagination, the fictive, where we can best re-ground ourselves in the real and the true.
  • you can’t find your own voice if you aren’t listening for it. The sound of your writing is an essential part of what it’s doing. Our teaching of writing tends to ignore it, except maybe in poetry. And so we get prose that goes clunk, clunk, clunk. And we don’t know what’s wrong with it
  • You emphasize the importance of understanding grammar and grammar terminology but also the importance of interrogating its rules. You point out that it is a strange phenomenon that grammar is the tool of our trade and yet so many writers steer away from an engagement with it. In my generation and for a while after—I was born in 1929—we were taught grammar right from the start. It was quietly drilled into us. We knew the names of the parts of speech, we had a working acquaintance with how English works, which they don’t get in most schools anymore. There is so much less reading in schools, and very little teaching of grammar. For a writer this is kind of like being thrown into a carpenter’s shop without ever having learned the names of the tools or handled them consciously. What do you do with a Phillips screwdriver? What is a Phillips screwdriver? We’re not equipping people to write; we’re just saying, “You too can write!” or “Anybody can write, just sit down and do it!” But to make anything, you’ve got to have the tools to make it.
  • In your book on writing, Steering the Craft, you say that morality and language are linked, but that morality and correctness are not the same thing. Yet we often confuse them in the realm of grammar. The “grammar bullies”—you read them in places like the New York Times—and they tell you what is correct: You must never use “hopefully.” “Hopefully, we will be going there on Tuesday.” That is incorrect and wrong and you are basically an ignorant pig if you say it. This is judgmentalism. The game that is being played there is a game of social class. It has nothing to do with the morality of writing and speaking and thinking clearly, which Orwell, for instance, talked about so well. It’s just affirming that I am from a higher class than you are. The trouble is that people who aren’t taught grammar very well in school fall for these statements from these pundits, delivered with vast authority from above. I’m fighting that. A very interesting case in point is using “they” as a singular. This offends the grammar bullies endlessly; it is wrong, wrong, wrong! Well, it was right until the eighteenth century, when they invented the rule that “he” includes “she.” It didn’t exist in English before then; Shakespeare used “they” instead of “he or she”—we all do, we always have done, in speaking, in colloquial English. It took the women’s movement to bring it back to English literature. And it is important. Because it’s a crossroads between correctness bullying and the moral use of language. If “he” includes “she” but “she” doesn’t include “he,” a big statement is being made, with huge social and moral implications. But we don’t have to use “he” that way—we’ve got “they.” Why not use it?
Ed Webb

Endtime for Hitler: On the Downfall of the Downfall Parodies - Mark Dery - Doom Patrol:... - 1 views

  • Endtime for Hitler: On the Downfall of the Downfall Parodies
  • Hitler left an inexhaustible fund of unforgettable images; Riefenstahl’sTriumph of the Will alone is enough to make him a household deity of the TV age.
  • The Third Reich was the first thoroughly modern totalitarian horror, scripted by Hitler and mass-marketed by Goebbels, a tour de force of media spectacle and opinion management that America’s hidden persuaders—admen, P.R. flacks, political campaign managers—studied assiduously.  A Mad Man in both senses, Hitler sold the German volk on a racially cleansed utopia, a thousand-year empire whose kitschy grandeur was strictly Forest Lawn Parthenon.
  • ...13 more annotations...
  • Hitler, unlike Stalin or Mao, was an intuitive master of media stagecraft. David Bowie’s too-clever quip that Hitler was the first rock star, for which Bowie was widely reviled at the time, was spot-on.
  • the media like Hitler because Hitler liked the media
  • Perhaps that’s why he continues to mesmerize us: because he flickers, irresolvably, between the seemingly inhuman and the all too human.
  • His psychopathology is a queasy funhouse reflection, straight out of Nightmare Alley, of the instrumental rationality of the machine age. The genocidal assembly lines of Hitler’s death camps are a grotesque parody of Fordist mechanization, just as the Nazis’ fastidious recycling of every remnant of their victims but their smoke—their gold fillings melted down for bullion, their hair woven into socks for U-boat crewmen—is a depraved caricature of the Taylorist mania for workplace efficiency.
  • there’s something perversely comforting about Hitler’s unchallenged status as the metaphysical gravitational center of all our attempts at philosophizing evil
  • he prefigured postmodernity: the annexation of politics by Hollywood and Madison Avenue, the rise of the celebrity as a secular icon, the confusion of image and reality in a Matrix world. He regarded existence “as a kind of permanent parade before a gigantic audience” (Fest), calculating the visual impact of every histrionic pose, every propaganda tagline, every monumental building
  • By denying everyone’s capability, at least in theory, for Hitlerian evil, we let ourselves off the hook
  • Yet Hitler, paradoxically, is also a shriveled untermensch, the protypical nonentity; a face in the crowd in an age of crowds, instantly forgettable despite his calculated efforts to brand himself (the toothbrush mustache of the military man coupled with the flopping forelock of the art-school bohemian)
  • there was always a comic distance between the public image of the world-bestriding, godlike Fuhrer and his Inner Adolf, a nail-biting nebbish tormented by flatulence. Knowingly or not, the Downfall parodies dance in the gap between the two. More immediately, they rely on the tried-and-true gimmick of bathos. What makes the Downfall parodies so consistently hilarious is the incongruity of whatever viral topic is making the Fuhrer go ballistic and the outsized scale of his gotterdammerung-strength tirade
  • The Downfall meme dramatizes the cultural logic of our remixed, mashed-up times, when digital technology allows us to loot recorded history, prying loose any signifier that catches our magpie eyes and repurposing it to any end. The near-instantaneous speed with which parodists use these viral videos to respond to current events underscores the extent to which the social Web, unlike the media ecologies of Hitler’s day, is a many-to-many phenomenon, more collective cacophony than one-way rant. As well, the furor (forgive pun) over YouTube’s decision to capitulate to the movie studio’s takedown demand, rather than standing fast in defense of Fair Use (a provision in copyright law that protects the re-use of a work for purposes of parody), indicates the extent to which ordinary people feel that commercial culture is somehow theirs, to misread or misuse as the spirit moves them.
  • the closest thing we have to a folk culture, the connective tissue that binds us as a society
  • SPIEGEL: Can you also get your revenge on him by using comedy? Brooks: Yes, absolutely. Of course it is impossible to take revenge for 6 million murdered Jews. But by using the medium of comedy, we can try to rob Hitler of his posthumous power and myths. [...] We take away from him the holy seriousness that always surrounded him and protected him like a cordon.”
  • risking the noose, some Germans laughed off their fears and mocked the Orwellian boot stamping on the human face, giving vent to covert opposition through flüsterwitze (“whispered jokes”). Incredibly, even Jews joked about their plight, drawing on the absurdist humor that is quintessentially Jewish to mock the Nazis even as they lightened the intolerable burden of Jewish life in the shadow of the swastika. Rapaport offers a sample of Jewish humor in Hitler’s Germany: “A Jew is arrested during the war, having been denounced for killing a Nazi at 10 P.M. and even eating the brain of his victim. This is his defense: In the first place, a Nazi hasn’t got any brain. Secondly, a Jew doesn’t eat anything that comes from a pig. And thirdly, he could not have killed the Nazi at 10 P.M. because at that time everybody listens to the BBC broadcast.”
  •  
    Brilliant
Ed Webb

Charlie Brooker | Google Instant is trying to kill me | Comment is free | The Guardian - 0 views

  • I'm starting to feel like an unwitting test subject in a global experiment conducted by Google, in which it attempts to discover how much raw information it can inject directly into my hippocampus before I crumple to the floor and start fitting uncontrollably.
  • It's the internet on fast-forward, and it's aggressive – like trying to order from a waiter who keeps finishing your sentences while ramming spoonfuls of what he thinks you want directly into your mouth, so you can't even enjoy your blancmange without chewing a gobful of black pudding first.
  • Google may have released him from the physical misery of pressing enter, but it's destroyed his sense of perspective in the process.
  • ...2 more annotations...
  • My attention span was never great, but modern technology has halved it, and halved it again, and again and again, down to an atomic level, and now there's nothing discernible left. Back in that room, bombarded by alerts and emails, repeatedly tapping search terms into Google Instant for no good reason, playing mindless pinball with words and images, tumbling down countless little attention-vortexes, plunging into one split-second coma after another, I began to feel I was neither in control nor 100% physically present. I wasn't using the computer. The computer was using me – to keep its keys warm.
  • I'm rationing my internet usage and training my mind muscles for the future. Because I can see where it's heading: a service called Google Assault that doesn't even bother to guess what you want, and simply hurls random words and sounds and images at you until you dribble all the fluid out of your body. And I know it'll kill me, unless I train my brain to withstand and ignore it. For me, the war against the machines has started in earnest.
Ed Webb

New research indicates that robots may already be self aware and plotting our demise / ... - 0 views

  • The printing press, the assembly line, and recently the genetic engineering have all brought along with them protest and outrage from a populace sure that these advances will bring about the end of the human species.
  • “These robots are able to hide and evade in ways that other robots simply have not been able to do. That indicates that such behaviour is not overly complicated and well within the reach of modern robots.”
  • Dr. Edward Webb
    • Ed Webb
       
      Not I, I assure you
Ed Webb

The stories of Ray Bradbury. - By Nathaniel Rich - Slate Magazine - 0 views

  • Thanks to Fahrenheit 451, now required reading for every American middle-schooler, Bradbury is generally thought of as a writer of novels, but his talents—particularly his mastery of the diabolical premise and the brain-exploding revelation—are best suited to the short form.
  • The best stories have a strange familiarity about them. They're like long-forgotten acquaintances—you know you've met them somewhere before. There is, for instance, the tale of the time traveler who goes back into time and accidentally steps on a butterfly, thereby changing irrevocably the course of history ("A Sound of Thunder"). There's the one about the man who buys a robotic husband to live with his wife so that he can be free to travel and pursue adventure—that's "Marionettes, Inc." (Not to be confused with "I Sing the Body Electric!" about the man who buys a robotic grandmother to comfort his children after his wife dies.) Or "The Playground," about the father who changes places with his son so that he can spare his boy the cruelty of childhood—forgetting exactly how cruel childhood can be. The stories are familiar because they've been adapted, and plundered from, by countless other writers—in books, television shows, and films. To the extent that there is a mythology of our age, Bradbury is one of its creators.
  • "But Bradbury's skill is in evoking exactly how soul-annihilating that world is."    Of course, this also displays one of the key facts of Bradbury's work -- and a trend in science fiction that is often ignored. He's a reactionary of the first order, deeply distrustful of technology and even the notion of progress. Many science fiction writers had begun to rewrite the rules of women in space by the time Bradbury had women in long skirts hauling pots and pans over the Martian landscape. And even he wouldn't disagree. In his famous Playboy interview he responded to a question about predicting the future with, "It's 'prevent the future', that's the way I put it. Not predict it, prevent it."
  • ...5 more annotations...
  • And for the record, I've never understood why a writer who recognizes technology is labeled a "sci-fi writer", as if being a "sci-fi writer" were equal to being some sort of substandard, second-rate hack. The great Kurt Vonnegut managed to get stuck in that drawer after he recognized technolgy in his 1st novel "Player Piano". No matter that he turned out to be (imo) one of the greatest authors of the 20th century, perio
  • it's chilling how prescient he was about modern media culture in Fahrenheit 451. It's not a Luddite screed against TV. It's a speculative piece on what happens when we become divorced from the past and more attuned to images on the screen than we are to each other.
  • ite author of mine since I was in elementary school way back when mammoths roamed the earth. To me, he was an ardent enthusiast of technology, but also recognized its potential for seperating us from one another while at the same time seemingly making us more "connected" in a superficial and transitory way
  • Bradbury is undeniably skeptical of technology and the risks it brings, particularly the risk that what we'd now call "virtualization" will replace actual emotional, intellectual or physical experience. On the other hand, however, I don't think there's anybody who rhapsodizes about the imaginative possibilities of rocketships and robots the way Bradbury does, and he's built entire setpieces around the idea of technological wonders creating new experiences.    I'm not saying he doesn't have a Luddite streak, more that he has feet in both camps and is harder to pin down than a single label allows. And I'll also add that in his public pronouncements of late, the Luddite streak has come out more strongly--but I tend to put much of that down to the curmudgeonliness of a ninety-year-old man.
  • I don't think he is a luddite so much as he is the little voice that whispers "be careful what you wish for." We have been sold the beautiful myth that technology will buy us free time, but we are busier than ever. TV was supposed to enlighten the masses, instead we have "reality TV" and a news network that does not let facts get in the way of its ideological agenda. We romanticize childhood, ignoring children's aggressive impulses, then feed them on a steady diet of violent video games.  
Ed Webb

The Technium: Protopia - 0 views

  • It may be that this future-blindness is simply the inescapable affliction of our modern world. Perhaps at this stage in civilization and technological advance, we enter into permanent and ceaseless future-blindness. Utopia, dystopia, and protopia all disappear. There is only the Blind Now. That is possible. But I am hoping that our current future-blindness is only a passing phase and that we will again begin to generate plausible visions of a desirable future, ones that are slightly better than today. These protopian visions won't be as thrilling as either dystopias or utopias, but they might be thrilling enough to aim towards.
Ed Webb

How to Mark a Book - 0 views

  • A book is more like the score of a piece of music than it is like a painting. No great musician confuses a symphony with the printed sheets of music. Arturo Toscanini reveres Brahms, but Toscanini's score of the G minor Symphony is so thoroughly marked up that no one but the maestro himself can read it. The reason why a great conductor makes notations on his musical scores -- marks them up again and again each time he returns to study them--is the reason why you should mark your books.
    • Ed Webb
       
      This is an excellent analogy.
  • the physical act of writing, with your own hand, brings words and sentences more sharply before your mind and preserves them better in your memory. To set down your reaction to important words and sentences you have read, and the questions they have raised in your mind, is to preserve those reactions and sharpen those questions.
    • Ed Webb
       
      The effect of new technologies here is still imperfectly understood. But there is some evidence that typing notes is less efficacious than handwriting them, in terms of inscribing information to memory and developing thought.
  • that is exactly what reading a book should be: a conversation between you and the author. Presumably he knows more about the subject than you do; naturally, you'll have the proper humility as you approach him. But don't let anybody tell you that a reader is supposed to be solely on the receiving end. Understanding is a two-way operation; learning doesn't consist in being an empty receptacle. The learner has to question himself and question the teacher. He even has to argue with the teacher, once he understands what the teacher is saying. And marking a book is literally an expression of differences, or agreements of opinion, with the author
  • ...4 more annotations...
  • Underlining (or highlighting): of major points, of important or forceful statements. Vertical lines at the margin: to emphasize a statement already underlined. Star, asterisk, or other doo-dad at the margin: to be used sparingly, to emphasize the ten or twenty most important statements in the book. (You may want to fold the bottom comer of each page on which you use such marks. It won't hurt the sturdy paper on which most modern books are printed, and you will be able take the book off the shelf at any time and, by opening it at the folded-corner page, refresh your recollection of the book.) Numbers in the margin: to indicate the sequence of points the author makes in developing a single argument. Numbers of other pages in the margin: to indicate where else in the book the author made points relevant to the point marked; to tie up the ideas in a book, which, though they may be separated by many pages, belong together. Circling or highlighting of key words or phrases. Writing in the margin, or at the top or bottom of the page, for the sake of: recording questions (and perhaps answers) which a passage raised in your mind; reducing a complicated discussion to a simple statement; recording the sequence of major points right through the books. I use the end-papers at the back of the book to make a personal index of the author's points in the order of their appearance.
    • Ed Webb
       
      This is a good schema. You can develop your own that accomplishes the same. The key is to have a schema and apply it consistently.
  • you may say that this business of marking books is going to slow up your reading. It probably will. That's one of the reasons for doing it
  • Some things should be read quickly and effortlessly and some should be read slowly and even laboriously.
  • Why is marking up a book indispensable to reading? First, it keeps you awake. (And I don't mean merely conscious; I mean awake.) In the second place; reading, if it is active, is thinking, and thinking tends to express itself in words, spoken or written. The marked book is usually the thought-through book. Finally, writing helps you remember the thoughts you had, or the thoughts the author expressed.
Ed Webb

Can Economists and Humanists Ever Be Friends? | The New Yorker - 0 views

  • There is something thrilling about the intellectual audacity of thinking that you can explain ninety per cent of behavior in a society with one mental tool.
  • education, which they believe is a form of domestication
  • there is no moral dimension to this economic analysis: utility is a fundamentally amoral concept
  • ...11 more annotations...
  • intellectual overextension is often found in economics, as Gary Saul Morson and Morton Schapiro explain in their wonderful book “Cents and Sensibility: What Economics Can Learn from the Humanities” (Princeton). Morson and Schapiro—one a literary scholar and the other an economist—draw on the distinction between hedgehogs and foxes made by Isaiah Berlin in a famous essay from the nineteen-fifties, invoking an ancient Greek fragment: “The fox knows many things, but the hedgehog one big thing.” Economists tend to be hedgehogs, forever on the search for a single, unifying explanation of complex phenomena. They love to look at a huge, complicated mass of human behavior and reduce it to an equation: the supply-and-demand curves; the Phillips curve, which links unemployment and inflation; or mb=mc, which links a marginal benefit to a marginal cost—meaning that the fourth slice of pizza is worth less to you than the first. These are powerful tools, which can be taken too far. Morson and Schapiro cite the example of Gary Becker, the Nobel laureate in economics in 1992. Becker is a hero to many in the field, but, for all the originality of his thinking, to outsiders he can stand for intellectual overconfidence. He thought that “the economic approach is a comprehensive one that is applicable to all human behavior.” Not some, not most—all
  • Becker analyzed, in his own words, “fertility, education, the uses of time, crime, marriage, social interactions, and other ‘sociological,’ ‘legal,’ and ‘political problems,’ ” before concluding that economics explained everything
  • The issue here is one of overreach: taking an argument that has worthwhile applications and extending it further than it usefully goes. Our motives are often not what they seem: true. This explains everything: not true. After all, it’s not as if the idea that we send signals about ourselves were news; you could argue that there is an entire social science, sociology, dedicated to the subject. Classic practitioners of that discipline study the signals we send and show how they are interpreted by those around us, as in Erving Goffman’s “The Presentation of Self in Everyday Life,” or how we construct an entire identity, both internally and externally, from the things we choose to be seen liking—the argument of Pierre Bourdieu’s masterpiece “Distinction.” These are rich and complicated texts, which show how rich and complicated human difference can be. The focus on signalling and unconscious motives in “The Elephant in the Brain,” however, goes the other way: it reduces complex, diverse behavior to simple rules.
  • “A traditional cost-benefit analysis could easily have led to the discontinuation of a project widely viewed as being among the most successful health interventions in African history.”
  • Another part of me, though, is done with it, with the imperialist ambitions of economics and its tendency to explain away differences, to ignore culture, to exalt reductionism. I want to believe Morson and Schapiro and Desai when they posit that the gap between economics and the humanities can be bridged, but my experience in both writing fiction and studying economics leads me to think that they’re wrong. The hedgehog doesn’t want to learn from the fox. The realist novel is a solemn enemy of equations. The project of reducing behavior to laws and the project of attending to human beings in all their complexity and specifics are diametrically opposed. Perhaps I’m only talking about myself, and this is merely an autobiographical reflection, rather than a general truth, but I think that if I committed any further to economics I would have to give up writing fiction. I told an economist I know about this, and he laughed. He said, “Sounds like you’re maximizing your utility.” 
  • finance is full of “attribution errors,” in which people view their successes as deserved and their failures as bad luck. Desai notes that in business, law, or pedagogy we can gauge success only after months or years; in finance, you can be graded hour by hour, day by day, and by plainly quantifiable measures. What’s more, he says, “the ‘discipline of the market’ shrouds all of finance in a meritocratic haze.” And so people who succeed in finance “are susceptible to developing massively outsized egos and appetites.”
  • one of the things I liked about economics, finance, and the language of money was their lack of hypocrisy. Modern life is full of cant, of people saying things they don’t quite believe. The money guys, in private, don’t go in for cant. They’re more like Mafia bosses. I have to admit that part of me resonates to that coldness.
  • Economics, Morson and Schapiro say, has three systematic biases: it ignores the role of culture, it ignores the fact that “to understand people one must tell stories about them,” and it constantly touches on ethical questions beyond its ken. Culture, stories, and ethics are things that can’t be reduced to equations, and economics accordingly has difficulty with them
  • There is something thrilling about the intellectual audacity of thinking that you can explain ninety per cent of behavior in a society with one mental tool
  • According to Hanson and Simler, these unschooled workers “won’t show up for work reliably on time, or they have problematic superstitions, or they prefer to get job instructions via indirect hints instead of direct orders, or they won’t accept tasks and roles that conflict with their culturally assigned relative status with co-workers, or they won’t accept being told to do tasks differently than they had done them before.”
  • The idea that Maya Angelou’s career amounts to nothing more than a writer shaking her tail feathers to attract the attention of a dominant male is not just misleading; it’s actively embarrassing.
Ed Webb

The migrant caravan "invasion" and America's epistemic crisis - Vox - 0 views

  • The intensity of belief on the right has begun to vary inversely with plausibility. Precisely because the “threat” posed by the caravan is facially absurd, believing in it — performing belief in it — is a powerful act of shared identity reinforcement, of tribal solidarity.
    • Ed Webb
       
      See (obviously) Orwell. Also Lisa Wedeens' great book on totalitarianism in Syria, Ambiguities of Domination.
  • Once that support system is in place, Trump is unbound, free to impose his fantasies on reality. He can campaign on Republicans protecting people with preexisting conditions even as the GOP sues to block such protections. He can brush off Mueller’s revelations and fire anyone who might threaten him. He can use imaginary Democratic voter fraud to cover up red-state voter suppression. He can use antifa as a pretext for deploying troops domestically.
  • Trump does not view himself as president of the whole country. He views himself as president of his white nationalist party — their leader in a war on liberals. He has all the tools of a head of state with which to prosecute that war. Currently, he is restrained only by the lingering professionalism of public servants and a few thin threads of institutional inertia.
  • ...6 more annotations...
  • The epistemic crisis Trump has accelerated is now morphing into a full-fledged crisis of democracy.
  • As Voltaire famously put it: “Anyone who has the power to make you believe absurdities has the power to make you commit injustices.”
  • The right, in all its organs, from social media to television to the president, is telling a well-worn, consistent story: Opposition from the left and Democrats is fraudulent, illegitimate, a foreign-funded conspiracy against the traditional white American way of life.
  • Having two versions of reality constantly clashing in public is cognitively and emotionally exhausting. To an average person following the news, the haze of charge and countercharge is overwhelming. And that is precisely what every autocrat wants.
  • every aspiring tyrant in modern history has made the independent media his first target
  • Then they go after the courts, the security services, and the military. Once they have a large base of support that will believe whatever they proclaim, follow them anywhere, support them in anything — it doesn’t have to be a majority, just an intense, activated minority — they can, practically speaking, get away with anything.
Ed Webb

Sad by design | Eurozine - 0 views

  • ‘technological sadness’ – the default mental state of the online billions
  • If only my phone could gently weep. McLuhan’s ‘extensions of man’ has imploded right into the exhausted self.
  • Social reality is a corporate hybrid between handheld media and the psychic structure of the user. It’s a distributed form of social ranking that can no longer be reduced to the interests of state and corporate platforms. As online subjects, we too are implicit, far too deeply involved
  • ...20 more annotations...
  • Google and Facebook know how to utilize negative emotions, leading to the new system-wide goal: find personalized ways to make you feel bad
  • in Adam Greenfield’s Radical Technologies, where he notices that ‘it seems strange to assert that anything as broad as a class of technologies might have an emotional tenor, but the internet of things does. That tenor is sadness… a melancholy that rolls off it in waves and sheets. The entire pretext on which it depends is a milieu of continuously shattered attention, of overloaded awareness, and of gaps between people just barely annealed with sensors, APIs and scripts.’ It is a life ‘savaged by bullshit jobs, over-cranked schedules and long commutes, of intimacy stifled by exhaustion and the incapacity by exhaustion and the incapacity or unwillingness to be emotionally present.’
  • Omnipresent social media places a claim on our elapsed time, our fractured lives. We’re all sad in our very own way.4 As there are no lulls or quiet moments anymore, the result is fatigue, depletion and loss of energy. We’re becoming obsessed with waiting. How long have you been forgotten by your love ones? Time, meticulously measured on every app, tells us right to our face. Chronos hurts. Should I post something to attract attention and show I’m still here? Nobody likes me anymore. As the random messages keep relentlessly piling in, there’s no way to halt them, to take a moment and think it all through.
  • Unlike the blog entries of the Web 2.0 era, social media have surpassed the summary stage of the diary in a desperate attempt to keep up with real-time regime. Instagram Stories, for example, bring back the nostalgia of an unfolding chain of events – and then disappear at the end of the day, like a revenge act, a satire of ancient sentiments gone by. Storage will make the pain permanent. Better forget about it and move on
  • By browsing through updates, we’re catching up with machine time – at least until we collapse under the weight of participation fatigue. Organic life cycles are short-circuited and accelerated up to a point where the personal life of billions has finally caught up with cybernetics
  • The price of self-control in an age of instant gratification is high. We long to revolt against the restless zombie inside us, but we don’t know how.
  • Sadness arises at the point we’re exhausted by the online world.6 After yet another app session in which we failed to make a date, purchased a ticket and did a quick round of videos, the post-dopamine mood hits us hard. The sheer busyness and self-importance of the world makes you feel joyless. After a dive into the network we’re drained and feel socially awkward. The swiping finger is tired and we have to stop.
  • Much like boredom, sadness is not a medical condition (though never say never because everything can be turned into one). No matter how brief and mild, sadness is the default mental state of the online billions. Its original intensity gets dissipated, it seeps out, becoming a general atmosphere, a chronic background condition. Occasionally – for a brief moment – we feel the loss. A seething rage emerges. After checking for the tenth time what someone said on Instagram, the pain of the social makes us feel miserable, and we put the phone away. Am I suffering from the phantom vibration syndrome? Wouldn’t it be nice if we were offline? Why is life so tragic? He blocked me. At night, you read through the thread again. Do we need to quit again, to go cold turkey again? Others are supposed to move us, to arouse us, and yet we don’t feel anything anymore. The heart is frozen
  • If experience is the ‘habit of creating isolated moments within raw occurrence in order to save and recount them,’11 the desire to anaesthetize experience is a kind of immune response against ‘the stimulations of another modern novelty, the total aesthetic environment’.
  • unlike burn-out, sadness is a continuous state of mind. Sadness pops up the second events start to fade away – and now you’re down the rabbit hole once more. The perpetual now can no longer be captured and leaves us isolated, a scattered set of online subjects. What happens when the soul is caught in the permanent present? Is this what Franco Berardi calls the ‘slow cancellation of the future’? By scrolling, swiping and flipping, we hungry ghosts try to fill the existential emptiness, frantically searching for a determining sign – and failing
  • Millennials, as one recently explained to me, have grown up talking more openly about their state of mind. As work/life distinctions disappear, subjectivity becomes their core content. Confessions and opinions are externalized instantly. Individuation is no longer confined to the diary or small group of friends, but is shared out there, exposed for all to see.
  • Snapstreaks, the ‘best friends’ fire emoji next to a friend’s name indicating that ‘you and that special person in your life have snapped one another within 24 hours for at least two days in a row.’19 Streaks are considered a proof of friendship or commitment to someone. So it’s heartbreaking when you lose a streak you’ve put months of work into. The feature all but destroys the accumulated social capital when users are offline for a few days. The Snap regime forces teenagers, the largest Snapchat user group, to use the app every single day, making an offline break virtually impossible.20 While relationships amongst teens are pretty much always in flux, with friendships being on the edge and always questioned, Snap-induced feelings sync with the rapidly changing teenage body, making puberty even more intense
  • The bare-all nature of social media causes rifts between lovers who would rather not have this information. But in the information age, this does not bode well with the social pressure to participate in social networks.
  • dating apps like Tinder. These are described as time-killing machines – the reality game that overcomes boredom, or alternatively as social e-commerce – shopping my soul around. After many hours of swiping, suddenly there’s a rush of dopamine when someone likes you back. ‘The goal of the game is to have your egos boosted. If you swipe right and you match with a little celebration on the screen, sometimes that’s all that is needed. ‘We want to scoop up all our options immediately and then decide what we actually really want later.’25 On the other hand, ‘crippling social anxiety’ is when you match with somebody you are interested in, but you can’t bring yourself to send a message or respond to theirs ‘because oh god all I could think of was stupid responses or openers and she’ll think I’m an idiot and I am an idiot and…’
  • The metric to measure today’s symptoms would be time – or ‘attention’, as it is called in the industry. While for the archaic melancholic the past never passes, techno-sadness is caught in the perpetual now. Forward focused, we bet on acceleration and never mourn a lost object. The primary identification is there, in our hand. Everything is evident, on the screen, right in your face. Contrasted with the rich historical sources on melancholia, our present condition becomes immediately apparent. Whereas melancholy in the past was defined by separation from others, reduced contacts and reflection on oneself, today’s tristesse plays itself out amidst busy social (media) interactions. In Sherry Turkle’s phrase, we are alone together, as part of the crowd – a form of loneliness that is particularly cruel, frantic and tiring.
  • What we see today are systems that constantly disrupt the timeless aspect of melancholy.31 There’s no time for contemplation, or Weltschmerz. Social reality does not allow us to retreat.32 Even in our deepest state of solitude we’re surrounded by (online) others that babble on and on, demanding our attention
  • distraction does not pull us away, but instead draws us back into the social
  • The purpose of sadness by design is, as Paul B. Preciado calls it, ‘the production of frustrating satisfaction’.39 Should we have an opinion about internet-induced sadness? How can we address this topic without looking down on the online billions, without resorting to fast-food comparisons or patronizingly viewing people as fragile beings that need to be liberated and taken care of.
  • We overcome sadness not through happiness, but rather, as media theorist Andrew Culp has insisted, through a hatred of this world. Sadness occurs in situations where stagnant ‘becoming’ has turned into a blatant lie. We suffer, and there’s no form of absurdism that can offer an escape. Public access to a 21st-century version of dadaism has been blocked. The absence of surrealism hurts. What could our social fantasies look like? Are legal constructs such as creative commons and cooperatives all we can come up with? It seems we’re trapped in smoothness, skimming a surface littered with impressions and notifications. The collective imaginary is on hold. What’s worse, this banality itself is seamless, offering no indicators of its dangers and distortions. As a result, we’ve become subdued. Has the possibility of myth become technologically impossible?
  • We can neither return to mysticism nor to positivism. The naive act of communication is lost – and this is why we cry
Ed Webb

Iran Says Face Recognition Will ID Women Breaking Hijab Laws | WIRED - 0 views

  • After Iranian lawmakers suggested last year that face recognition should be used to police hijab law, the head of an Iranian government agency that enforces morality law said in a September interview that the technology would be used “to identify inappropriate and unusual movements,” including “failure to observe hijab laws.” Individuals could be identified by checking faces against a national identity database to levy fines and make arrests, he said.
  • Iran’s government has monitored social media to identify opponents of the regime for years, Grothe says, but if government claims about the use of face recognition are true, it’s the first instance she knows of a government using the technology to enforce gender-related dress law.
  • Mahsa Alimardani, who researches freedom of expression in Iran at the University of Oxford, has recently heard reports of women in Iran receiving citations in the mail for hijab law violations despite not having had an interaction with a law enforcement officer. Iran’s government has spent years building a digital surveillance apparatus, Alimardani says. The country’s national identity database, built in 2015, includes biometric data like face scans and is used for national ID cards and to identify people considered dissidents by authorities.
  • ...5 more annotations...
  • Decades ago, Iranian law required women to take off headscarves in line with modernization plans, with police sometimes forcing women to do so. But hijab wearing became compulsory in 1979 when the country became a theocracy.
  • Shajarizadeh and others monitoring the ongoing outcry have noticed that some people involved in the protests are confronted by police days after an alleged incident—including women cited for not wearing a hijab. “Many people haven't been arrested in the streets,” she says. “They were arrested at their homes one or two days later.”
  • Some face recognition in use in Iran today comes from Chinese camera and artificial intelligence company Tiandy. Its dealings in Iran were featured in a December 2021 report from IPVM, a company that tracks the surveillance and security industry.
  • US Department of Commerce placed sanctions on Tiandy, citing its role in the repression of Uyghur Muslims in China and the provision of technology originating in the US to Iran’s Revolutionary Guard. The company previously used components from Intel, but the US chipmaker told NBC last month that it had ceased working with the Chinese company.
  • When Steven Feldstein, a former US State Department surveillance expert, surveyed 179 countries between 2012 and 2020, he found that 77 now use some form of AI-driven surveillance. Face recognition is used in 61 countries, more than any other form of digital surveillance technology, he says.
1 - 13 of 13
Showing 20 items per page